Swiss sound and performance artist Magda Drozd returns to Präsens Editions for her third release.
Having agonized over weighty concepts on 2019's 'Song for Plants' and its 2021-released follow-up '18 Floors', Drozd was relieved to have an opportunity to lose herself completely in sound on 'Viscera'. The name is fitting for a suite of music that the artist spent weeks developing by following her emotional impulses, working freely with instrumentation and genre. It's a space where a track as open and orchestral as the Jon Hassell-inspired 'Reverie', with its sci-fi pads, ASMR crunches and tense strings can exist alongside 'Routine Machine', that sounds rooted in '90s IDM and electro.
On 'Lovers', Drozd sings in hushed tones over xenharmonic synths and rattling electronic percussion, layering her voice into a choral blur, while on 'Clipped Wings' she dirties a jazzy saxophone solo with caliginous synths, painting a bleak, '80s video nasty atmosphere.
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Swiss sound and performance artist Magda Drozd returns to Präsens Editions for her third release.
Having agonized over weighty concepts on 2019's 'Song for Plants' and its 2021-released follow-up '18 Floors', Drozd was relieved to have an opportunity to lose herself completely in sound on 'Viscera'. The name is fitting for a suite of music that the artist spent weeks developing by following her emotional impulses, working freely with instrumentation and genre. It's a space where a track as open and orchestral as the Jon Hassell-inspired 'Reverie', with its sci-fi pads, ASMR crunches and tense strings can exist alongside 'Routine Machine', that sounds rooted in '90s IDM and electro.
On 'Lovers', Drozd sings in hushed tones over xenharmonic synths and rattling electronic percussion, layering her voice into a choral blur, while on 'Clipped Wings' she dirties a jazzy saxophone solo with caliginous synths, painting a bleak, '80s video nasty atmosphere.
Swiss sound and performance artist Magda Drozd returns to Präsens Editions for her third release.
Having agonized over weighty concepts on 2019's 'Song for Plants' and its 2021-released follow-up '18 Floors', Drozd was relieved to have an opportunity to lose herself completely in sound on 'Viscera'. The name is fitting for a suite of music that the artist spent weeks developing by following her emotional impulses, working freely with instrumentation and genre. It's a space where a track as open and orchestral as the Jon Hassell-inspired 'Reverie', with its sci-fi pads, ASMR crunches and tense strings can exist alongside 'Routine Machine', that sounds rooted in '90s IDM and electro.
On 'Lovers', Drozd sings in hushed tones over xenharmonic synths and rattling electronic percussion, layering her voice into a choral blur, while on 'Clipped Wings' she dirties a jazzy saxophone solo with caliginous synths, painting a bleak, '80s video nasty atmosphere.
Swiss sound and performance artist Magda Drozd returns to Präsens Editions for her third release.
Having agonized over weighty concepts on 2019's 'Song for Plants' and its 2021-released follow-up '18 Floors', Drozd was relieved to have an opportunity to lose herself completely in sound on 'Viscera'. The name is fitting for a suite of music that the artist spent weeks developing by following her emotional impulses, working freely with instrumentation and genre. It's a space where a track as open and orchestral as the Jon Hassell-inspired 'Reverie', with its sci-fi pads, ASMR crunches and tense strings can exist alongside 'Routine Machine', that sounds rooted in '90s IDM and electro.
On 'Lovers', Drozd sings in hushed tones over xenharmonic synths and rattling electronic percussion, layering her voice into a choral blur, while on 'Clipped Wings' she dirties a jazzy saxophone solo with caliginous synths, painting a bleak, '80s video nasty atmosphere.