Liquid Metal: Bestial Mouths and Daniel Jones on Egyptrixx’s <i>A/B til Infinity</i>

As flowingly dreamlike as it is harsh, David Psutka’s new album for Night Slugs under his Egyptrixx moniker is his most intriguing and personal yet.

Electronic Beats’ online contributing editor Daniel Jones discusses it with Lynette Cerezo and Gustavo Aldana—respectively, vocalist and synth programmer—of the Los Angeles post-punk group Bestial Mouths, whose last LP Bestial Mouths was produced by Psutka. 

 

Daniel Jones: I was very intrigued when I heard that Egyptrixx was responsible for producing your last album. The idea of one of the Night Slugs OGs working on a noisy, underground post-punk record is something that feels very timely given the harsher and more metallic approach dance music has returned to recently.

Lynette Cerezo: David wrote us after he’d heard the Hissing Veil album, and we started corresponding and talking about collaborating. We talked about working on an EP together, but then the opportunity for a full-length came up and he came out and produced a few tracks for the LP. We were so happy with the result that we brought him back out to record the rest of the songs.

DJ: I noticed the presence of more synths than previously on that album; did his production influence you in any way? Are you building toward a more dance-oriented aesthetic?

Gus Aldana: I would say that our new material definitely is, but not in a way that sacrifices our experimental qualities. I joined the band being very inspired by the contemporary techno scene, particularly by the output from Perc Trax and CLR. I feel that both of those labels are really pushing the sounds of techno into territory that is reminiscent of industrial and avant-garde extreme electronics and broken beats. I think they’ve really proven that there’s an audience and a thirst for those aesthetics today.

DJ: The new A/B… is definitely reminiscent of the more industrial sides of techno in a way that makes it stand apart from a lot of Night Slugs’ output.

GA: What I love about the new album is that it really furthers these ideas—it’s totally stripped-down compared to his last album, but it captures an atmosphere that encompasses so many different styles of electronic music. That “Water” track is such a huge dancefloor banger, but it also has a strong industrial vibe and really pushes the sound of contemporary techno into new areas. Some of the atmospheric pads remind me of some old Goldie tracks, super urban—but then the hi-hat rushes and the laser synths really push it into dancefloor territory.

DJ: You can hear a lot of older influences such as Vangelis there as well.

GA: It has a huge Blade Runner aesthetic; I’m sure he’s going to get this a lot but it totally reminds me of Vangelis, and tangentially the Kuedo album as well. That stripped-down sound in the new album is so focused, and I feel like the visual aesthetic of the video really encompasses that: red, black, and fluid.

DJ: Liquid plays a big theme on the album; that was a nice contrast with his work on Bestial Mouths’ more solid, ‘chunkier’ sound, which elementally felt closer to Earth. That’s also something you don’t hear in a lot of industrial techno, this ‘liquid’ element. It generally tends to keep its pads drier.

GA: The maximal aesthetic of Bestial Mouths and the more minimal aesthetic of A/B til Infinity seem to contrast, but I feel like they work together in a similar vision.

LC: Both albums have the same darkened tone, though with his work David creates a smooth atmosphere, while we tend to be more abrupt and sudden.

GA: I can see his black metal influences in the way that he uses a set of sounds to create different tracks, all within the same atmosphere. Even though our album is maximal, we’re working entirely with hardware so we’re limited in the soundscapes we create. I feel like with the new album, David really took that to an extreme and focused his electronics on a particular aesthetic and atmosphere. Although in some ways it is sparse, it also really opens up the feeling and emotion of the album—almost as though every track is a movement within a larger composition. It could easily be a film score, or a soundtrack to a dream or imagined world. It feels that personal. I think that’s what draws me to this album the most, the “liquid” element. It’s so unique in the current environment of electronic music. I feel like a lot of music now could be described as “smoky” or “gritty” or “hard”, but that liquid element really has David’s voice in it. He definitely has those more harsh elements, but overall the record feels like a rainy day in a post-apocalyptic wasteland similar to the world we live in. It feels as though he really let his imagination and feeling be expressed through the songs without feeling restricted by dancefloor sensibilities.

DJ: Exactly, and I think that’s why I found myself particularly drawn to the ‘break’ points of the album, when it would reach a more mellow standpoint— “Disorbital“s breathy synths, the Silent Hill-esque opening of “Bad Boy“…

LC: I would say my favorite is “Ax//s“. When I saw the video it solidified my love for it. David and his collaborator A N F [Berlin-based visual artist Andreas Nicholas Fischer] created a unique atmosphere for this. It’s sparse, but still heavy, and the way it progresses really leads you somewhere. I feel this track speaks to me the most on a personal level. It’s very cinematic, ominously evocative and eerie.

GA: That one is beautiful, though I might be impartial because the video is so amazing. From what I understand, his whole set is similar to that video. It’s funny because the first time I heard the record it was a gray, rainy day here in Los Angeles and before I looked out the window, I was listening to it and imagining that the world outside looked like that. But I would have to say my favorite track is “Adult“. I feel like it totally encompasses the mood of the whole album: hi-hat rushes, laser sounds, wet synths, and so much space. If A/B til Infinity were a soundtrack, I feel like this track would be the defining moment in the film—the ultimate showdown.

DJ: The production also reminded me of Vatican Shadow. While Psutka’s work is more lush and concise than Fernow’s, it has the same drawn-out and literary way of putting together songs that feels very ‘un-American’ in terms of modern dance music.

LC: I love how sparse he went with the kicks throughout the album. It really makes you savor every punch.

GA: To me, it was a dancier version of the Roly Porter album, which I am totally obsessed with. It also really reminded me of Raime, but with more dancefloor sensibility.

DJ: It has that same sense of being drawn into an imagined world.

LC: It’s not just an audio experience, but a visual one as well. It draws in the listener and engages them in a way that makes it truly art. If you tune out the world and just listen, it will take you places.

GA:  The dancefloor is an open forum, and the warehouses and venues that this music occupies is so personal. I love hearing people express those experiences in more free forms. When you walk into a transformed space, it carries so much personality and feeling and weight that is unique to every person that steps foot into the party. A/B til Infinity encompasses that feeling. ~

 

 Egyptrixx’s A/B til Infinity is out now on Night Slugs. Bestial Mouths’ Bestial Mouths is out on Clan Destine Records.

 

 

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Videodrome 121 – This week’s best videos

Each week, Moritz Gayard rounds up the best new music videos so you don’t have to. 

 

Welcome back to the house of music videos. This week we’ve quite a selection ready for your eyes & ears. You can try the latest bass-manipulation with beloved OM UNIT, take a trip with Egyptrixx into his fierce soundscapes, join the last train to electropop with Little Boots, explore Nico Jaar’s latest drop under his Darkside umbrella or watch an unhappy Azealia Banks in her latest collaborative video with Pharrell. No matter which alley is yours, have fun and stay open-minded.

 

#1 Om Unit feat. Jinadu – “The Silence”, directed by Tim Fox

Oh, how we love the warm bass of the Om Unit. The track is off of his debut album, which is out this month through Civil Music. Now press play to reach the final frontier…

 

#2 Egyptrixx – “Ax//s”, directed by Andreas Nicolas Fischer

Nice teaser for his upcoming album, A/B Til Infinity. BTW,this is the first musical sign of the Canadian since the release of his debut album Bible Eyes from 2011. Night Slugs drops the new EP next month.

 

#3 Omar Souleyman – “Warni Warni”, directed by Cali Thornhill DeWitt

Back in the day, I adored OS and once met him for some tea and an unforgettable chat. Now he’s signed to Domino and Four Tet produced his album. Which, honestly, feels like a Western takeover on these fresh East-Syrian sounds. Anyway, the track above is killer and sounds like Four Tet wasn’t in the room while recording.

 

#4 Little Boots – “Shake”, directed by Delaney Bishop

Ballet dancers meet hexapods: nice comparison and contrast in this new Little Boots video here between mechanized and human movement, though. Also, this is what you call warm and gentle electropop.

 

#5 DARKSIDE – “Metatron”, directed by Fernando Vallejo

Cool and unofficial video for “Metatron” from the new Nicolas Jaar and Dave Harrington collaboration, DARKSIDE. Video follows around a crew of skateboarders, showing love triangles, skate tricks, and more.

 

#6 Daedelus – “Tiptoes”, directed by Michael Wingate

LA veteran beatmaker Daedelus did it again. Dive into his digital voyage that takes you through some 3D renderings to finally enter some sort of next level shit.

 

#7 The Neighbourhood – “Afraid”, directed by ENDS

Cool black and white video for up-and-coming Los Angeles band The Neighbourhood, who has been steadily gaining traction on the strength of their hit single “Sweater Weather”.

 

#8 Disclosure – “You & Me” (Flume Remix), directed by Toby Pike

Are you into kissing? If yes, check out the official video for the Flume’s killler remix of Disclosure track ”You & Me”.

 

#9 Symmetry “The Hunt”, directed by Alberto Rossini

Johnny Jewel (Chromatics, Glass Candy) has offered up a free download of the album’s closing track, the dark and cinematic “The Hunt”, which comes hand-in-hand with a collage video, directed by Alberto Rossini.

 

#10 Azealia Banks feat. Pharrell – “ATM Jam”, directed by Rony Alwin

Azealia didn’t look very “into it” or happy in this “ATM Jam” video above, and that makes me unhappy. Nice track, though.

 

For more editions of Videodrome, click here.
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Editors’ Choice: October 11th, 2013

Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.

 

Lisa Blanning (Online Editor)

Fatima Al Qadiri – “Knight Fare (post-war dub)”

You might recall I mentioned the recent grime war, where dozens of producers threw down for a seriously fun battle royale for Lord of the Beats. This late ‘entry’ from New York-based Fatima Al Qadiri—who’s always been vocal about her love for the genre which has proved an obvious inspiration for her own sci-fi soundworld—might just have cleaned up.

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Louise Brailey (Deputy Online Editor)

Iceage – “Jackie”

Copenhagen punks Iceage cover a 1987 requiem to lost love by self-appointed pop martriarch Sinead O’Connor. Wait, come back! By transposing the haunting original to their anguished, spittle-flecked register (they leave the pronouns alone, too) they cement their rep as thugs of a very different stripe.

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Moritz Gayard (Online Duty Editor)

Girl Unit – Stay the Night #4

The key figures in the progressive bass movement, Girl Unit just unleashed a beast of a mix bringing you Xscape, Opus III, Morri$, Ciara and many more. Free download included.

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Daniel Jones (Contributing Editor)

subʞutan – # Speak Silence #

This amorphous mix from the Leipzig-based DJ is an hour and forty minutes worth of haunting, blended ambience, beautifully suited to both the gray autumn of Berlin and the studies I’ve been doing around language. Academics Do It Solemnly.

Samo Sound Boy – “Your Love” (Shlohmo Mix)

I don’t suppose I’ve played Samo Sound Boy’s stuff in over two years, but once Shlohmo puts his touch on just about any track, my brain sort of requires my hands to click on it. This is some druggy, draggy nightbass with the pitched-vocal ubiquities that I never seem to get sick of.

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A.J. Samuels (Senior Print Editor)

Charles Cohen – “Shopping Cart Lady”

redose-2 Charles Cohen – “Dance Of The Spiritcatchers” [Morphosis rework Version1] Excerpt

Philadelphia native Charles Cohen has been attracting attention recently with the release of a trilogy of early works on Rabih Beaini’s (aka Morphosis) Berlin-based Morphine label. Assembled from archives dating back to the mid-seventies, Cohen’s explorative electronics recalls the likes of Roedelius and Conrad Schnitzler, with whom he was supposed to collaborate on an LP that never materialized (see recent Wire feature). As the title of the trilogy’s final installation suggests, the pieces on Music for Dance and Theater (out November 29) were composed specifically for the stage. Morphosis’s own Cohen reworks, released this past August, are more club than stage and also definitely worth a listen.

 

Read previous editions of Editors’ Choice here.

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Editors’ Choice: September 27th, 2013

Rather than operate as a music news source, Electronic Beats operates as a music information source. We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.

 

Lisa Blanning (Online Editor)

Heatsick – Snakes & Ladders EP

This new Heatsick 12-inch on Soul Jazz is actually already out, but its title track is especially interesting. He’s already known (and highly regarded) for making lo-fi, analog house music, but here it sounds more like his version of UK funky, with the syncopated snare for extra swing.

Jam City – Club Constructions Vol. 6

Jam City’s Classical Curves was one of my favorite albums of 2012, so this new EP of even more club-oriented tracks built from the same palette of sci-fi, machine futurism is one of my most anticipated releases of the year.

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Louise Brailey (Deputy Online Editor)

Mount Kimbie – “You Took Your Time” (Kyle Hall Remix)

Often remix EPs do little but pollute the already unstemmable musical bitstream, but Mount Kimbie’s forthcoming CSFLY Remixes, out next month, is a keeper. Lee Gamble, Oneman, and DJ Koze have all reassembled tracks from the excellent Cold Spring Fault Less Youth. This unyielding rework—courtesy of Kyle Hall—takes the languid, organ-laced original and shoves a Detroit-shaped rocket up its backside. Don’t forget to watch Mount Kimbie’s live performance at EB Festival Podgorica here.

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Moritz Gayard (Online Duty Editor)

Paul St. Hilaire – “Nah Ina It”

Up for some slow dance? Then head in to the dubby sounds of Berlin-based Paul St. Hilaire, aka Tikiman. New EP out soon via the amazing Leipzig-based imprint Jahtari.

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Jannik Schäfer (Social Media Editor)

Earl Sweatshirt – “Molasses” feat. RZA

Admittedly I am a bit late on the Doris train but since this came up on my headphones I have been revisiting it all week. What a smooth baby.

wun two – “stakes”

Come on, it’s Friday. Take it super easy with wun two. He’s one of my favorite producers in the game, operating very much on the down low but releasing one brilliant rework of a classic like “Stakes Is High” or “BIG” after another. Also look out for his marvelous Ships originally released in 2012.

Read previous editions of Editors’ Choice here.

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Editors’ Choice: September 7th, 2013

Rather than operate as a music news source, Electronic Beats operates as a music information source.

We want to share with you; we want you to know what we’re hearing, what’s reverberating our cochleas and sending broader vibrations throughout our bodies, and by extension our audio-addled souls. Down with that? Welcome to Editors’ Choice.

 

Lisa Blanning (Online Editor)

Jam City – Earthly Mix

A new mix from the artist who put out one of the albums of the year in 2012, and whose forthcoming EP on Night Slugs picks up where that left off. You can hear a couple of those new ones wrapped up in this mix of fantastically varied bangers.

 

Moritz Gayard (Online Duty Editor)

Javeon – Lovesong

Just when you thought electronic R&B was over, this track proves the genre is alive and kicking. Give it up!
Daniel Jones (Contributing Editor)

HSY – Tartar Mouth

Somewhere between 45 Grave and a hateful Black Tambourine, this Toronto act makes sludgy, metal-tinged punk that feels as dirty as it does nostalgically welcome. If you like this, here’s another track as well.

Have A Nice Life – Deathconsciousness

I’d forgotten about this gorgeous album, and rediscovered it again recently when I needed it the most. The exquisite pairing of harsh guitars and pounding electronic drums combined with droning ambient textures and beautiful dual vocals makes for one of the most entrancing listening experiences I’ve yet heard. Not only do they have a  new album due out this year, they’re also reissuing this one. Buy it, download it, whatever—just listen.

 

Michael Lutz (Print Duty Editor)

kara.kara – SIGINT

I stumbled across this Drexciya/Heinrich Mueller/Dopplereffekt-related set while doing research for the upcoming full-length LP Commodified by NRSB-11, a faceless duo consisting of two of the greatest electronic music minds of our time: Gerald Donald and DJ Stingray. Their record is out next week on Belgian imprint WEME Records, which—at least for me—continues to be one of the most thrilling and profiled outlets for connoisseur techno and electronics. It’s worth the mention that some of Autechre’s greatest moments (Amber-era) can be found in this set too.

NRSB-11 – Consumer Programming

The first and absolutely sick track of the aforementioned LP by NRSB-11. Read the interview with Gerald Donald we published in the Winter 2012/2013 issue of Electronic Beats Magazine here. If you’re not familiar with this artist yet, a whole new universe might open up for you!
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Read previous editions of Editors’ Choice here.

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