Turn Liquid Into Dust
Ziúr's unexpected first foray into electroacoustic free improv, 'Turn Liquid into Dust' is a dizzying suite of long-form meditations made from DIY instruments and woodwind from London-based Japanese player Kenichi Iwasa, who's worked with Beatrice Dillon and Maxwell Sterling.
We had a suspicion that Ziúr might have had an ear for jazz when we heard 2023's 'Eyeroll', but this one has still taken us completely by surprise. The record emerged after the Berlin-based DJ and producer was invited to perform with Lebanese visual artist and electroacoustic composer Tarek Atoui in 2024. Atoui had come up with an eight-channel spacial audio piece called 'Waters' Witness', where sounds were piped through the structure of the installation, and Ziúr responded by using Atoui's custom-made instruments to guide a completely new suite of tracks to be presented within the same framework. It's radically different material for Ziúr if you've only heard albums like 'Eyeroll' and its fantastical predecessor 'Antifate', but she's been collaborating and playing in various outfits for years, it's just the end result that's surprising. Using one of Atoui's string instruments, she creates an anxious atmosphere on 'Long Call', picking out moonlit twangs and smearing echoes into the starry backdrop. Iwasa is the secret weapon here; he follows Ziúr's lead, highlighting her scraped notes and rubbery tones with reedy blasts from a bagpipe chanter that forms its own charismatic voice. Accompanied by temple bells and pools of feedback, Iwasa's unstable improvisations add character and animation - it's a sound that never gets enough love, in our opinion.
And Ziúr processes and layers Iwasa's performances into a quivering mass of fictile sonics on 'A Cold Drip', balancing the buzzing, high-pitched sounds with rumbling low-end moans. His contribution is more subtle on the title track, where Ziúr uses Atoui's "Reed Box", a custom-built organ, to generate wheezing drones that are pulled out in multiple dimensions. Recording the hissing airflow and the motors, as well as the sensual synth-like tones, Ziúr engineers a dense wall of sound that Atoui compliments with breathy bamboo flute meditations. She runs down her own path on closing track 'Chips 'n' Crumbles', using household items as makeshift instruments to anchor the album's jazziest diversion. A controlled disorder of hisses, clanks and resonant looped flourishes, it's a dimly lit basement trip that'll appeal to the heads, for sure. One for fans of Ben Vida, Bendik Giske or James Rushford.
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Ziúr's unexpected first foray into electroacoustic free improv, 'Turn Liquid into Dust' is a dizzying suite of long-form meditations made from DIY instruments and woodwind from London-based Japanese player Kenichi Iwasa, who's worked with Beatrice Dillon and Maxwell Sterling.
We had a suspicion that Ziúr might have had an ear for jazz when we heard 2023's 'Eyeroll', but this one has still taken us completely by surprise. The record emerged after the Berlin-based DJ and producer was invited to perform with Lebanese visual artist and electroacoustic composer Tarek Atoui in 2024. Atoui had come up with an eight-channel spacial audio piece called 'Waters' Witness', where sounds were piped through the structure of the installation, and Ziúr responded by using Atoui's custom-made instruments to guide a completely new suite of tracks to be presented within the same framework. It's radically different material for Ziúr if you've only heard albums like 'Eyeroll' and its fantastical predecessor 'Antifate', but she's been collaborating and playing in various outfits for years, it's just the end result that's surprising. Using one of Atoui's string instruments, she creates an anxious atmosphere on 'Long Call', picking out moonlit twangs and smearing echoes into the starry backdrop. Iwasa is the secret weapon here; he follows Ziúr's lead, highlighting her scraped notes and rubbery tones with reedy blasts from a bagpipe chanter that forms its own charismatic voice. Accompanied by temple bells and pools of feedback, Iwasa's unstable improvisations add character and animation - it's a sound that never gets enough love, in our opinion.
And Ziúr processes and layers Iwasa's performances into a quivering mass of fictile sonics on 'A Cold Drip', balancing the buzzing, high-pitched sounds with rumbling low-end moans. His contribution is more subtle on the title track, where Ziúr uses Atoui's "Reed Box", a custom-built organ, to generate wheezing drones that are pulled out in multiple dimensions. Recording the hissing airflow and the motors, as well as the sensual synth-like tones, Ziúr engineers a dense wall of sound that Atoui compliments with breathy bamboo flute meditations. She runs down her own path on closing track 'Chips 'n' Crumbles', using household items as makeshift instruments to anchor the album's jazziest diversion. A controlled disorder of hisses, clanks and resonant looped flourishes, it's a dimly lit basement trip that'll appeal to the heads, for sure. One for fans of Ben Vida, Bendik Giske or James Rushford.