David Letellier follows 2022's 'Ultrachroma' with another obsessively engineered set of hypnotic, tonally-contorted big room techno - one for fans of Aleksi Perälä, Rrose or Monolake.
Like it's predecessor, 'ZERO' is techno with a difference. Letellier's been polishing his sound design skills since the raster days, and he applies all his experience to this one, rattling up pounding 4/4 sequences with brain-scraping, insectoid chirps and metallic prangs that project a vision of the dancefloor that's more inward facing than it might seem at first blush. Just as polychromatic as its predecessor, 'ZERO' pulses with vivid energy, and Letellier's able to stretch out his narrative here, interspersing his wonky minimal bangers with atmospheric scene-setting beatless experiments.
You'd be forgiven for assuming the album was a trek towards the darkness of a Berghain morning after the grinding 'Iota' and 'Ipso', but Letellier quickly shifts gears, adding skewed melodic asides that morph into proper hooks. 'Taro' is on its way to mutating, and 'Etos' sounds as if it's slithering from minimal toward acidic trance, but by 'Omen', Letellier has turned on the neon strobes, fading his kicks slightly to allow the Jean-Michel Jarre plucks to carry the momentum to the album's final moments.
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David Letellier follows 2022's 'Ultrachroma' with another obsessively engineered set of hypnotic, tonally-contorted big room techno - one for fans of Aleksi Perälä, Rrose or Monolake.
Like it's predecessor, 'ZERO' is techno with a difference. Letellier's been polishing his sound design skills since the raster days, and he applies all his experience to this one, rattling up pounding 4/4 sequences with brain-scraping, insectoid chirps and metallic prangs that project a vision of the dancefloor that's more inward facing than it might seem at first blush. Just as polychromatic as its predecessor, 'ZERO' pulses with vivid energy, and Letellier's able to stretch out his narrative here, interspersing his wonky minimal bangers with atmospheric scene-setting beatless experiments.
You'd be forgiven for assuming the album was a trek towards the darkness of a Berghain morning after the grinding 'Iota' and 'Ipso', but Letellier quickly shifts gears, adding skewed melodic asides that morph into proper hooks. 'Taro' is on its way to mutating, and 'Etos' sounds as if it's slithering from minimal toward acidic trance, but by 'Omen', Letellier has turned on the neon strobes, fading his kicks slightly to allow the Jean-Michel Jarre plucks to carry the momentum to the album's final moments.
David Letellier follows 2022's 'Ultrachroma' with another obsessively engineered set of hypnotic, tonally-contorted big room techno - one for fans of Aleksi Perälä, Rrose or Monolake.
Like it's predecessor, 'ZERO' is techno with a difference. Letellier's been polishing his sound design skills since the raster days, and he applies all his experience to this one, rattling up pounding 4/4 sequences with brain-scraping, insectoid chirps and metallic prangs that project a vision of the dancefloor that's more inward facing than it might seem at first blush. Just as polychromatic as its predecessor, 'ZERO' pulses with vivid energy, and Letellier's able to stretch out his narrative here, interspersing his wonky minimal bangers with atmospheric scene-setting beatless experiments.
You'd be forgiven for assuming the album was a trek towards the darkness of a Berghain morning after the grinding 'Iota' and 'Ipso', but Letellier quickly shifts gears, adding skewed melodic asides that morph into proper hooks. 'Taro' is on its way to mutating, and 'Etos' sounds as if it's slithering from minimal toward acidic trance, but by 'Omen', Letellier has turned on the neon strobes, fading his kicks slightly to allow the Jean-Michel Jarre plucks to carry the momentum to the album's final moments.
David Letellier follows 2022's 'Ultrachroma' with another obsessively engineered set of hypnotic, tonally-contorted big room techno - one for fans of Aleksi Perälä, Rrose or Monolake.
Like it's predecessor, 'ZERO' is techno with a difference. Letellier's been polishing his sound design skills since the raster days, and he applies all his experience to this one, rattling up pounding 4/4 sequences with brain-scraping, insectoid chirps and metallic prangs that project a vision of the dancefloor that's more inward facing than it might seem at first blush. Just as polychromatic as its predecessor, 'ZERO' pulses with vivid energy, and Letellier's able to stretch out his narrative here, interspersing his wonky minimal bangers with atmospheric scene-setting beatless experiments.
You'd be forgiven for assuming the album was a trek towards the darkness of a Berghain morning after the grinding 'Iota' and 'Ipso', but Letellier quickly shifts gears, adding skewed melodic asides that morph into proper hooks. 'Taro' is on its way to mutating, and 'Etos' sounds as if it's slithering from minimal toward acidic trance, but by 'Omen', Letellier has turned on the neon strobes, fading his kicks slightly to allow the Jean-Michel Jarre plucks to carry the momentum to the album's final moments.
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David Letellier follows 2022's 'Ultrachroma' with another obsessively engineered set of hypnotic, tonally-contorted big room techno - one for fans of Aleksi Perälä, Rrose or Monolake.
Like it's predecessor, 'ZERO' is techno with a difference. Letellier's been polishing his sound design skills since the raster days, and he applies all his experience to this one, rattling up pounding 4/4 sequences with brain-scraping, insectoid chirps and metallic prangs that project a vision of the dancefloor that's more inward facing than it might seem at first blush. Just as polychromatic as its predecessor, 'ZERO' pulses with vivid energy, and Letellier's able to stretch out his narrative here, interspersing his wonky minimal bangers with atmospheric scene-setting beatless experiments.
You'd be forgiven for assuming the album was a trek towards the darkness of a Berghain morning after the grinding 'Iota' and 'Ipso', but Letellier quickly shifts gears, adding skewed melodic asides that morph into proper hooks. 'Taro' is on its way to mutating, and 'Etos' sounds as if it's slithering from minimal toward acidic trance, but by 'Omen', Letellier has turned on the neon strobes, fading his kicks slightly to allow the Jean-Michel Jarre plucks to carry the momentum to the album's final moments.