Patricia – Speed Wagon Night Bride (2017)

This grouping of audio recordings is for aural use only. Any emotional content perceived herein is borne of its listener, and is in no way intended by its author. Any sounds resembling speech are not intended to convey meaning.

Several Shades Of The Same Color is Patricia’s first album for Spectral Sound — produced in conjunction with his own label Active Cultures.

Tips for listeners: consider the moment in which you exist; pay attention to how these sounds evoke physiological (rather than cognitive) responses. Listeners may find themselves deriving immense physical pleasure from exposure to these sounds. Inability to achieve such pleasure is likely attributable to over-analysis of the aforementioned audio content — or to improper amplification.

Each of Shades’ three LPs features suites of tracks that, considered alone, comprise their own distinct, unique worlds. Disc One opens with “I Know The Face, But Not The Name,” an unabashedly plaintive trip through classic electro rhythms; flip it over for “The Words Are Only Sounds,” a haunting affair for synthesizer and voice. Disc Two’s “The Electric Eye is Upon Me” swirls endlessly, while “Shiba Inu Dub” is cut for the floor and coy as its namesake. Disc Three’s jackin’ “Feel Your Body” will cause you to do just that; “German Friendship” sounds like D.A.F. on dissociatives.

Any emotional associations incurred while listening come at the listener’s discretion. Furthermore, the identity of the author and/or their passions regarding the recordings herein shall bear no weight on the listener’s experience. This body of work is not intended to generate ideas; rather, its goal is to produce physical sensations in the listener.

Taken altogether, Several Shades Of The Same Color is kaleidoscopic, a multi-faceted techno trip. Listen in full, or listen in part. And if you consider only one of these intermittent listening notes, make it this one: Don’t think; just hear.


Orbe – Uniformity (2017)

The idea of purity is always recurring when talking about techno. Although purism has long been relegated to a mere excuse for fear, when understood not as vindication of a certain dogma, but as a way of approaching creative expression, purity is, as a matter of a fact, inseparable from the genre. After all, techno is something like the pursuit of transcendence – either visceral, cerebral or spiritual – through the strictly necessary means only. The search of the truest forms by just outlining them. All of this brings us to the story of ‘Uniformity’, Orbe’s first release for Hivern. We had been following Fernando since his first releases in the orbit of Eduardo de la Calle’s Analog Solutions. At the same time, he had sent us various folders with music, but nothing had just crystallized. Orbe ended up changing of studio, settling in the basement of a record store in the district of Malasaña in Madrid. There, he locked himself for two weeks, during which, as he explains, he “let himself go”. “I did not think about anything, I made music for myself, and that’s how it came out,” he recalls. What came out of these studio sessions were six cuts that borrow indistinctly from electro and techno to reach perennial border zones, those where languages are no longer effective and the ability to transmit emotions becomes the only mean of communication. In a way, this is what happened to Orbe when approaching the production of the tracks. He stopped trying to make himself understood and simply focused on expressing what he wanted to say, reminding us about the only kind of purity that makes sense in music.  The 12” comes wrapped in a screen printed sleeve with design by Arnau Pi.


Graham Dunning – Real Data (2017)

Video and audio derived from deliberate misinterpretation of numerical data, collected from a survey asking questions about bedroom music production. Made at Galerie Paradise, Nantes, France in May/June 2017 as part of their artist in residence programme. This is a shortened version of the full 22’35 video.