The unstoppable Ata Ebtekar returns to Diagonal with his chaotic response to Iannis Xenakis's legendary 1971 piece 'Persepolis', five tracks of forward-facing rhythmic mayhem that'll appeal to fans of Rashad Becker, Rian Treanor or Autechre.
Xenakis's longest electroacoustic composition, 'Persepolis' was commissioned by the Shah of Iran to mark the 2500 year anniversary of the country's founding. Unsurprisingly then, it was a lavish, no holds barred affair, part of a large multimedia performance Xenakis called "polytopes" that used two lasers and 92 spotlights to project Zoroastrian patterns around the ancient city of Persepolis, while groups of children wandered in the distance with torches. Sote's answer isn't quite as high budget, but it takes Xenakis's sonic themes and runs with them, interpolating the dense, alien soundscapes and concrète gurgles as heady, elasticated beatscapes that map the architecture of Persepolis and project it into the far future.
It's the veteran producer's first beat-focused work in a minute, and reminds us just how essential his rhythms have always been. Not as teeth-clenchingly full-on as 2016's brilliant 'Hardcore Sounds from Tehran', 'Persepolis' reminds us more of its predecessor 'Arrhythmia', with Ebtekar's signature sonics squeezing around the rubbery, off-grid beat patterns. 'ADTVESSPXLUT' is an early highlight and the mini-album's most club-ready cut, a see-saw of warring beats that almost dissolve into 4/4 but repeatedly pull back at the last moment as Sote ruptures the flow with metallic clangs and buzzsaw bass womps. 'JNGLGHRSSPXHYRCANIA' is a splatter of rapid-fire mutant hardstyle thuds and loopy hiccuping French touch synth squelches that deconstructs itself into computer fritzed mayhem before spluttering to a halt.
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The unstoppable Ata Ebtekar returns to Diagonal with his chaotic response to Iannis Xenakis's legendary 1971 piece 'Persepolis', five tracks of forward-facing rhythmic mayhem that'll appeal to fans of Rashad Becker, Rian Treanor or Autechre.
Xenakis's longest electroacoustic composition, 'Persepolis' was commissioned by the Shah of Iran to mark the 2500 year anniversary of the country's founding. Unsurprisingly then, it was a lavish, no holds barred affair, part of a large multimedia performance Xenakis called "polytopes" that used two lasers and 92 spotlights to project Zoroastrian patterns around the ancient city of Persepolis, while groups of children wandered in the distance with torches. Sote's answer isn't quite as high budget, but it takes Xenakis's sonic themes and runs with them, interpolating the dense, alien soundscapes and concrète gurgles as heady, elasticated beatscapes that map the architecture of Persepolis and project it into the far future.
It's the veteran producer's first beat-focused work in a minute, and reminds us just how essential his rhythms have always been. Not as teeth-clenchingly full-on as 2016's brilliant 'Hardcore Sounds from Tehran', 'Persepolis' reminds us more of its predecessor 'Arrhythmia', with Ebtekar's signature sonics squeezing around the rubbery, off-grid beat patterns. 'ADTVESSPXLUT' is an early highlight and the mini-album's most club-ready cut, a see-saw of warring beats that almost dissolve into 4/4 but repeatedly pull back at the last moment as Sote ruptures the flow with metallic clangs and buzzsaw bass womps. 'JNGLGHRSSPXHYRCANIA' is a splatter of rapid-fire mutant hardstyle thuds and loopy hiccuping French touch synth squelches that deconstructs itself into computer fritzed mayhem before spluttering to a halt.
The unstoppable Ata Ebtekar returns to Diagonal with his chaotic response to Iannis Xenakis's legendary 1971 piece 'Persepolis', five tracks of forward-facing rhythmic mayhem that'll appeal to fans of Rashad Becker, Rian Treanor or Autechre.
Xenakis's longest electroacoustic composition, 'Persepolis' was commissioned by the Shah of Iran to mark the 2500 year anniversary of the country's founding. Unsurprisingly then, it was a lavish, no holds barred affair, part of a large multimedia performance Xenakis called "polytopes" that used two lasers and 92 spotlights to project Zoroastrian patterns around the ancient city of Persepolis, while groups of children wandered in the distance with torches. Sote's answer isn't quite as high budget, but it takes Xenakis's sonic themes and runs with them, interpolating the dense, alien soundscapes and concrète gurgles as heady, elasticated beatscapes that map the architecture of Persepolis and project it into the far future.
It's the veteran producer's first beat-focused work in a minute, and reminds us just how essential his rhythms have always been. Not as teeth-clenchingly full-on as 2016's brilliant 'Hardcore Sounds from Tehran', 'Persepolis' reminds us more of its predecessor 'Arrhythmia', with Ebtekar's signature sonics squeezing around the rubbery, off-grid beat patterns. 'ADTVESSPXLUT' is an early highlight and the mini-album's most club-ready cut, a see-saw of warring beats that almost dissolve into 4/4 but repeatedly pull back at the last moment as Sote ruptures the flow with metallic clangs and buzzsaw bass womps. 'JNGLGHRSSPXHYRCANIA' is a splatter of rapid-fire mutant hardstyle thuds and loopy hiccuping French touch synth squelches that deconstructs itself into computer fritzed mayhem before spluttering to a halt.
The unstoppable Ata Ebtekar returns to Diagonal with his chaotic response to Iannis Xenakis's legendary 1971 piece 'Persepolis', five tracks of forward-facing rhythmic mayhem that'll appeal to fans of Rashad Becker, Rian Treanor or Autechre.
Xenakis's longest electroacoustic composition, 'Persepolis' was commissioned by the Shah of Iran to mark the 2500 year anniversary of the country's founding. Unsurprisingly then, it was a lavish, no holds barred affair, part of a large multimedia performance Xenakis called "polytopes" that used two lasers and 92 spotlights to project Zoroastrian patterns around the ancient city of Persepolis, while groups of children wandered in the distance with torches. Sote's answer isn't quite as high budget, but it takes Xenakis's sonic themes and runs with them, interpolating the dense, alien soundscapes and concrète gurgles as heady, elasticated beatscapes that map the architecture of Persepolis and project it into the far future.
It's the veteran producer's first beat-focused work in a minute, and reminds us just how essential his rhythms have always been. Not as teeth-clenchingly full-on as 2016's brilliant 'Hardcore Sounds from Tehran', 'Persepolis' reminds us more of its predecessor 'Arrhythmia', with Ebtekar's signature sonics squeezing around the rubbery, off-grid beat patterns. 'ADTVESSPXLUT' is an early highlight and the mini-album's most club-ready cut, a see-saw of warring beats that almost dissolve into 4/4 but repeatedly pull back at the last moment as Sote ruptures the flow with metallic clangs and buzzsaw bass womps. 'JNGLGHRSSPXHYRCANIA' is a splatter of rapid-fire mutant hardstyle thuds and loopy hiccuping French touch synth squelches that deconstructs itself into computer fritzed mayhem before spluttering to a halt.
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The unstoppable Ata Ebtekar returns to Diagonal with his chaotic response to Iannis Xenakis's legendary 1971 piece 'Persepolis', five tracks of forward-facing rhythmic mayhem that'll appeal to fans of Rashad Becker, Rian Treanor or Autechre.
Xenakis's longest electroacoustic composition, 'Persepolis' was commissioned by the Shah of Iran to mark the 2500 year anniversary of the country's founding. Unsurprisingly then, it was a lavish, no holds barred affair, part of a large multimedia performance Xenakis called "polytopes" that used two lasers and 92 spotlights to project Zoroastrian patterns around the ancient city of Persepolis, while groups of children wandered in the distance with torches. Sote's answer isn't quite as high budget, but it takes Xenakis's sonic themes and runs with them, interpolating the dense, alien soundscapes and concrète gurgles as heady, elasticated beatscapes that map the architecture of Persepolis and project it into the far future.
It's the veteran producer's first beat-focused work in a minute, and reminds us just how essential his rhythms have always been. Not as teeth-clenchingly full-on as 2016's brilliant 'Hardcore Sounds from Tehran', 'Persepolis' reminds us more of its predecessor 'Arrhythmia', with Ebtekar's signature sonics squeezing around the rubbery, off-grid beat patterns. 'ADTVESSPXLUT' is an early highlight and the mini-album's most club-ready cut, a see-saw of warring beats that almost dissolve into 4/4 but repeatedly pull back at the last moment as Sote ruptures the flow with metallic clangs and buzzsaw bass womps. 'JNGLGHRSSPXHYRCANIA' is a splatter of rapid-fire mutant hardstyle thuds and loopy hiccuping French touch synth squelches that deconstructs itself into computer fritzed mayhem before spluttering to a halt.