Billy Bultheel
Two Cycles
Boomkat Product Review:
33's Billy Bultheel hits out solo on 'Two Cycles', his full length debut for PAN, searching out the harmonies between Nyman-esque baroque minimalism and punky, industrial electronics. RIYL Jóhann Jóhannsson, Philip Glass, Bobby Krlic.
It might be his solo debut, but 'Two Cycles' is the result of years of work from Bultheel, compiling compositional and electro-acoustic work and electronic productions he's been developing since 2016. The album is split into two distinct sides, the 'Snow Cycle', that highlights his experiments with baroque and medieval forms most bluntly, comes first, followed by the more rhythmic 'Game Cycle'. It's Bultheel's attempt to synchronize his interests; a trained composer and well-regarded installation artist (his work with Anne Imhof is especially inspiring), his enthusiasm for club music and DIY punk sloshed about on 33's '33-39'. Here, Bultheel makes more palpable links: his electronic productions are lacerated by a deep understanding of classical music, and his classical compositions are unmistakably contaminated by electronic music.
After a hushed start with the languidly epic 'The Arcades Project' (a piece for four tubas), Bultheel hits his stride on 'Mt. Analogue', echoing a solo brass fanfare into a vast open hall that carries the instrument through its long pool of reverb. It's like a bare-boned approximation of Michael Nyman's work for Peter Greenaway; Nyman was already trying to strip baroque forms down to their core elements, and Bultheel takes it further, isolating the heart of the sound and paying attention to the space around it. On 'The Snows of Venice', he directs two flautists to pace around in a pool of water, letting their wails bounce around the architecture as the sound is gently massaged into quivering, trancy oscillations.
On the flip, 'Game Theory' introduces the 'Game Cycle' with a volley of detuned, percussive prangs, and 'Decreation' drags us towards the club with overdriven, abyssal kicks and tense, stuttered metallic percussion. Butheel mixes it up with a wry smirk: '5SSP' is a brief, brain-combing, GRM-addled interlude, and '9ssp' seems to call back to the 'Snow Cycle', using rough edged feedback and frozen drones to mimic the orchestral elements. The real highlight is 'Gigue', a laser battle of MDMA rush stabs and 6/8 hardstyle drums that cites a baroque court dance. It's crackers, but it works.
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Boomkat Product Review:
33's Billy Bultheel hits out solo on 'Two Cycles', his full length debut for PAN, searching out the harmonies between Nyman-esque baroque minimalism and punky, industrial electronics. RIYL Jóhann Jóhannsson, Philip Glass, Bobby Krlic.
It might be his solo debut, but 'Two Cycles' is the result of years of work from Bultheel, compiling compositional and electro-acoustic work and electronic productions he's been developing since 2016. The album is split into two distinct sides, the 'Snow Cycle', that highlights his experiments with baroque and medieval forms most bluntly, comes first, followed by the more rhythmic 'Game Cycle'. It's Bultheel's attempt to synchronize his interests; a trained composer and well-regarded installation artist (his work with Anne Imhof is especially inspiring), his enthusiasm for club music and DIY punk sloshed about on 33's '33-39'. Here, Bultheel makes more palpable links: his electronic productions are lacerated by a deep understanding of classical music, and his classical compositions are unmistakably contaminated by electronic music.
After a hushed start with the languidly epic 'The Arcades Project' (a piece for four tubas), Bultheel hits his stride on 'Mt. Analogue', echoing a solo brass fanfare into a vast open hall that carries the instrument through its long pool of reverb. It's like a bare-boned approximation of Michael Nyman's work for Peter Greenaway; Nyman was already trying to strip baroque forms down to their core elements, and Bultheel takes it further, isolating the heart of the sound and paying attention to the space around it. On 'The Snows of Venice', he directs two flautists to pace around in a pool of water, letting their wails bounce around the architecture as the sound is gently massaged into quivering, trancy oscillations.
On the flip, 'Game Theory' introduces the 'Game Cycle' with a volley of detuned, percussive prangs, and 'Decreation' drags us towards the club with overdriven, abyssal kicks and tense, stuttered metallic percussion. Butheel mixes it up with a wry smirk: '5SSP' is a brief, brain-combing, GRM-addled interlude, and '9ssp' seems to call back to the 'Snow Cycle', using rough edged feedback and frozen drones to mimic the orchestral elements. The real highlight is 'Gigue', a laser battle of MDMA rush stabs and 6/8 hardstyle drums that cites a baroque court dance. It's crackers, but it works.
Boomkat Product Review:
33's Billy Bultheel hits out solo on 'Two Cycles', his full length debut for PAN, searching out the harmonies between Nyman-esque baroque minimalism and punky, industrial electronics. RIYL Jóhann Jóhannsson, Philip Glass, Bobby Krlic.
It might be his solo debut, but 'Two Cycles' is the result of years of work from Bultheel, compiling compositional and electro-acoustic work and electronic productions he's been developing since 2016. The album is split into two distinct sides, the 'Snow Cycle', that highlights his experiments with baroque and medieval forms most bluntly, comes first, followed by the more rhythmic 'Game Cycle'. It's Bultheel's attempt to synchronize his interests; a trained composer and well-regarded installation artist (his work with Anne Imhof is especially inspiring), his enthusiasm for club music and DIY punk sloshed about on 33's '33-39'. Here, Bultheel makes more palpable links: his electronic productions are lacerated by a deep understanding of classical music, and his classical compositions are unmistakably contaminated by electronic music.
After a hushed start with the languidly epic 'The Arcades Project' (a piece for four tubas), Bultheel hits his stride on 'Mt. Analogue', echoing a solo brass fanfare into a vast open hall that carries the instrument through its long pool of reverb. It's like a bare-boned approximation of Michael Nyman's work for Peter Greenaway; Nyman was already trying to strip baroque forms down to their core elements, and Bultheel takes it further, isolating the heart of the sound and paying attention to the space around it. On 'The Snows of Venice', he directs two flautists to pace around in a pool of water, letting their wails bounce around the architecture as the sound is gently massaged into quivering, trancy oscillations.
On the flip, 'Game Theory' introduces the 'Game Cycle' with a volley of detuned, percussive prangs, and 'Decreation' drags us towards the club with overdriven, abyssal kicks and tense, stuttered metallic percussion. Butheel mixes it up with a wry smirk: '5SSP' is a brief, brain-combing, GRM-addled interlude, and '9ssp' seems to call back to the 'Snow Cycle', using rough edged feedback and frozen drones to mimic the orchestral elements. The real highlight is 'Gigue', a laser battle of MDMA rush stabs and 6/8 hardstyle drums that cites a baroque court dance. It's crackers, but it works.
Boomkat Product Review:
33's Billy Bultheel hits out solo on 'Two Cycles', his full length debut for PAN, searching out the harmonies between Nyman-esque baroque minimalism and punky, industrial electronics. RIYL Jóhann Jóhannsson, Philip Glass, Bobby Krlic.
It might be his solo debut, but 'Two Cycles' is the result of years of work from Bultheel, compiling compositional and electro-acoustic work and electronic productions he's been developing since 2016. The album is split into two distinct sides, the 'Snow Cycle', that highlights his experiments with baroque and medieval forms most bluntly, comes first, followed by the more rhythmic 'Game Cycle'. It's Bultheel's attempt to synchronize his interests; a trained composer and well-regarded installation artist (his work with Anne Imhof is especially inspiring), his enthusiasm for club music and DIY punk sloshed about on 33's '33-39'. Here, Bultheel makes more palpable links: his electronic productions are lacerated by a deep understanding of classical music, and his classical compositions are unmistakably contaminated by electronic music.
After a hushed start with the languidly epic 'The Arcades Project' (a piece for four tubas), Bultheel hits his stride on 'Mt. Analogue', echoing a solo brass fanfare into a vast open hall that carries the instrument through its long pool of reverb. It's like a bare-boned approximation of Michael Nyman's work for Peter Greenaway; Nyman was already trying to strip baroque forms down to their core elements, and Bultheel takes it further, isolating the heart of the sound and paying attention to the space around it. On 'The Snows of Venice', he directs two flautists to pace around in a pool of water, letting their wails bounce around the architecture as the sound is gently massaged into quivering, trancy oscillations.
On the flip, 'Game Theory' introduces the 'Game Cycle' with a volley of detuned, percussive prangs, and 'Decreation' drags us towards the club with overdriven, abyssal kicks and tense, stuttered metallic percussion. Butheel mixes it up with a wry smirk: '5SSP' is a brief, brain-combing, GRM-addled interlude, and '9ssp' seems to call back to the 'Snow Cycle', using rough edged feedback and frozen drones to mimic the orchestral elements. The real highlight is 'Gigue', a laser battle of MDMA rush stabs and 6/8 hardstyle drums that cites a baroque court dance. It's crackers, but it works.
Double album cover, one for each side and cycle on the record, features a collage created by the Welsh video artist James Richards that merges medieval iconography with snippets of queer memorabilia.
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Boomkat Product Review:
33's Billy Bultheel hits out solo on 'Two Cycles', his full length debut for PAN, searching out the harmonies between Nyman-esque baroque minimalism and punky, industrial electronics. RIYL Jóhann Jóhannsson, Philip Glass, Bobby Krlic.
It might be his solo debut, but 'Two Cycles' is the result of years of work from Bultheel, compiling compositional and electro-acoustic work and electronic productions he's been developing since 2016. The album is split into two distinct sides, the 'Snow Cycle', that highlights his experiments with baroque and medieval forms most bluntly, comes first, followed by the more rhythmic 'Game Cycle'. It's Bultheel's attempt to synchronize his interests; a trained composer and well-regarded installation artist (his work with Anne Imhof is especially inspiring), his enthusiasm for club music and DIY punk sloshed about on 33's '33-39'. Here, Bultheel makes more palpable links: his electronic productions are lacerated by a deep understanding of classical music, and his classical compositions are unmistakably contaminated by electronic music.
After a hushed start with the languidly epic 'The Arcades Project' (a piece for four tubas), Bultheel hits his stride on 'Mt. Analogue', echoing a solo brass fanfare into a vast open hall that carries the instrument through its long pool of reverb. It's like a bare-boned approximation of Michael Nyman's work for Peter Greenaway; Nyman was already trying to strip baroque forms down to their core elements, and Bultheel takes it further, isolating the heart of the sound and paying attention to the space around it. On 'The Snows of Venice', he directs two flautists to pace around in a pool of water, letting their wails bounce around the architecture as the sound is gently massaged into quivering, trancy oscillations.
On the flip, 'Game Theory' introduces the 'Game Cycle' with a volley of detuned, percussive prangs, and 'Decreation' drags us towards the club with overdriven, abyssal kicks and tense, stuttered metallic percussion. Butheel mixes it up with a wry smirk: '5SSP' is a brief, brain-combing, GRM-addled interlude, and '9ssp' seems to call back to the 'Snow Cycle', using rough edged feedback and frozen drones to mimic the orchestral elements. The real highlight is 'Gigue', a laser battle of MDMA rush stabs and 6/8 hardstyle drums that cites a baroque court dance. It's crackers, but it works.
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