There are echoes of Arca, SOPHIE, Drexciya, Aphex Twin, Raymond Scott, John Zorn, Mr. Her titles suggest outlandish images-“Vestido de Párpados” (“Dress of Eyelids”), “Menta Fútil” (“Futile Mint”), “Cicatriz de Chocolate” (“Chocolate Scar”)-that play out in synesthetic eruptions of color, texture, and unpredictable movement. High-pitched voices darting across the upper register imply that medically inadvisable quantities of helium have been huffed. Prepared-piano plunks dot concussive breaks and helicopter pulses.
Bright tendrils of synth flick across the fizz of bubbling water. An unstable amalgam of kazoo squeal, vacuum cleaner whine, and defenestrated drum kit, it is chaotic. SHuSH, which she occasionally spells as the more fittingly onomatopoeic SHo͝oSH, is her most alien excursion yet, a kind of splattercore drum ‘n’ bass riddled with acoustic drums and slathered with elastic synths and pitch-shifting effects. Last year’s Istripuak collected improvised drum solos that she subsequently manipulated. beat music-it’s easy to hear the influence of Flying Lotus and Brainfeeder on 2015’s Yesterday is Tomorrow’s wtv and Tactile Emotion-has become increasingly idiosyncratic. What began as an exploratory take on L.A. What kind of music is this, and how on earth has she made it? On Bandcamp, she has a rapidly growing catalog of self-released albums.
But once you focus your attention on her sounds, all certainties fall apart.
0 kommentar(er)
