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2LP
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RAVE 008LP
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The Death of Rave presents a much-needed vinyl version of one of this decade's most uncanny pieces of computer music: Theo Burt's dance-pop deconstruction, Summer Mix. First issued as a limited CD edition by Entr'acte in 2011, it's become a bit of an iconic piece, presenting a non-trivial nostalgia trip that somehow sounds like a digitally diffused take on Gas, Basic Channel or Ross 154. It was created by applying a complex mathematical process known as a discrete Fourier transform upon a number of late '90s and '00s dance anthems, effectively sieving their contents before phase-resetting the data and discarding half of the information, with the surviving sounds subsequently organized in order of similarity. What's left is a haunting spectral impression: smeared traces of cloud-busted melody and motorik rhythm skeletons; rending anthemic metaphysics as a sublime murmuration of intangible memories, perhaps even simulating the effect of an MDMA-induced cultural amnesia. Due to the inherent frequency limitations of vinyl, the timbral thizz of the high-end sounds subtly altered on this version, with pulses pronounced just enough for adventurous DJs. The double LP also features the bonus of a pre-installed 33rpm version if you really want to break it down. While rooted in academic research, it's a transcendent and strangely emotive piece of work, and should serve as a fine introduction to Burt's music, a fascinating cultural arfifact, and a beautifully trippy listen. Created from tracks by Swedish House Mafia, PJ feat. Velvet, Roll Deep, Paul van Dyk, Deepest Blue, Supermode, Deadmau5, Mason Vs. Princess Superstar, Riva Starr, Sash!, Motorcycle, 4 Strings, PPK, DHT, Tiësto, Sonique, Grace, Gouryella, Roger Sanchez, and Eric Prydz.
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12"
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OR AUTO17
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Or and The Automatics Group present Auto 17, recordings of raw output from 49 configurations of an EMS VCS 3 synthesizer. Sides A and B are released on 12" vinyl with side C available digitally. Renowned for its ability to produce wide-ranging electronic sound effects, it was sometimes considered problematic when producing melodic sounds due to the instability of its components. The recordings on Auto 17 are the result of incremental/violent changes to the modular configuration of the machine. Recorded directly from the two independent outputs of the VCS 3, unusual modulation routing produces a variety of complex relationships between the left and right channels. Timbral, rhythmic and harmonic themes emerge, revealing unexpected properties of the machine. The Automatics Group undertake projects investigating issues of control, representation, autonomy and formalism.
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