Don’t bother Googling Patricia. Not only will your results turn up fruitless, but you’ll also be missing the point of the Chicago-born producer’s own brand of hardware techno. The now Brooklyn-based artist makes tracks that sound as if they can only exist in a physical place—whether they’re spinning around on a dusty 12″ or thumping against your chest in a crowded basement club, Patricia’s rough-edged tunes are tailor made for tangible, real-life experiences. This much was made evident in the smoky dancefloor transmissions of 2013’s Body Issues release for lauded DIY label Opal Tapes (not to mention his various side projects with the likes of Jahiliyya Fields, Arp, and others), and Patricia takes that rugged reimagining of vintage Midwestern techno to new territories on his first EP for Spectral Sound, Side Piece. With three original productions and one hell of a jacking remix from Ghostly stalwart Tadd Mullinix’s JTC moniker, Side Piece is a monstrous 12″ built from cinderblock kick drums, soot-covered modular synths, hissy tape recordings, and equal parts early Aphex Twin and Underground Resistance. Opener “Drip Dawn” drops its submerged drum-machine groove like a burlap sack full of sewer sludge and rubbery eyeballs. Keeping things fresh, Patricia follows the workmanlike production with “Hulderhusan”, a cut of deep, percussive techno that runs its 808 rhythms way into the red, while synth pads that could have been sourced from Selected Ambient Works drift around in the periphery. “Foie Gras” closes out Patricia’s run of original tracks by marrying the best parts of the record’s first two songs with dank acid sequences and skittery rhythms that sound as classic as they do vital to the contemporary landscape. It’s obvious after just one spin of Side Piece that Patricia is a producer whose identity is merely an afterthought to the uncompromising music the artist makes. [Source]
Tessela has a new EP on the way called Rough 2, due out in July on R&S Records.
2013 was a landmark year for Ed Russell. In addition to appearing in our Breaking Through series, he released two bowel-shaking 12-inches: Nancy’s Pantry and Hackney Parrot (the latter of which came in at number two in our top 50 tracks of 2013 poll.) While Hackney Parrot was released on Russell’s own label, Poly Kicks, Nancy’s Pantry marked his debut on esteemed Belgium-via-UK imprint, R&S.
Russell’s next release, Rough 2, will see release on July 14th. The title track has been floating around for a while now: Créme chief DJ TLR included it in his FACT mix in November last year. It’ll be joined by two other cuts, “Butchwax” and “C’mon, Let’s Slow Dance.” Perhaps unsurprisingly, the press release is littered with words like “unhinged,” ” disorientating” and “frenetic.”
Ashley Beedle on Nightmares on Wax,
“The first time I heard A Word Of Science was back in ’91 when I worked at Black Market Records in London. I knew something special was going on – it had us all buggin’ about the Quincy Jones sample in ‘Nights Interlude’. The album was 60 mins 33 secs of bliss straight outta Leeds. Still a landmark album and it’s a been a real pleasure and honour to know the man.”
“The video is inspired by the idea of creating a world based on memories, where things seem real but they are in fact a construction of the mind. All the images are made from electronic signals, from which were created a reproduction of a sun, different landscapes and cities. The musical composition induced the vision of bright colours and daylight atmosphere, so the simulated sunlight became a central element of the video, thus creating dazed images where everything is diffused and hard to grasp.” – Sabrina Ratté
“We wondered if consciousness is a memory and what role memories have in the imaginative process . We saw prints as physical memories and an equivalence between printing and memory function. They often share the aim of ‘reproducing’ a subject as accurately as possible. Experience told us that a perfect reproduction is difficult, if not impossible. An attraction to explore this fallibility and a curiosity about the potential inaccuracies and artefacts gave us the album title, ‘Reachy Prints’.
The track ‘Wallet’ is inspired by the items found in wallets, the money, receipts, business cards, photos etc and the symbolism of wallets as a safe place to store items we value and want to remember. Most items in a wallet have already been digitised and perhaps physical wallets/purses will become obsolete.” – Plaid