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So good to get some more stuff from Lebanese producer Rabih Beaini so soon after his magnificent ‘Albidaya’ album for Annihaya released under his own name. This however has him back in Morphosis mode with five tracks split over a coupla 12”s. Kicking off with ‘Dismantle’, a fine example of his unorthodox approach and unique vision of techno with fuzzy textures that ar ...

Double 12" £12.49 £6.25 HJP072

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REVIEWS

Dismantle / Music For Vampyr by Morphosis
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8/10 Ant Staff review, 28 June 2013

So good to get some more stuff from Lebanese producer Rabih Beaini so soon after his magnificent ‘Albidaya’ album for Annihaya released under his own name. This however has him back in Morphosis mode with five tracks split over a coupla 12”s. Kicking off with ‘Dismantle’, a fine example of his unorthodox approach and unique vision of techno with fuzzy textures that are like pure electricity, filtered rimshots, crackle and hiss it’s apparent he’s working in a much more raw style than on his previous album ‘What Have We Learned’. I’m fairly sure some techno purists wouldn’t call this ‘proper’ techno but to me this more experimental approach is absolutely necessary. Like Jamal Moss (who has appeared on his Morphine label) he’s heavily inspired by Sun-Ra and at times almost appears to be channeling his spirit through the circuits. ‘Tamrat Version’ has a live/ free/ jam/ improv thing happening. Something I suspect would make the purists squirm. This unrefined style seems to really suit the sounds he uses, you can almost feel a sort of uneasy nervous energy like everything could just run totally out of synch and totally fall apart at any given moment. Still there’s a groove and hypnotic quality present for the more adventurous dancers.


‘Music for Vampyre’ comes in three parts: ‘Arrival’, ‘Shadows’ and ‘Finale’. These are excerpts from his soundtrack to Danish director Carl Theodor Dreyer’s 1932 silent film. ‘Arrival’ has a big ravey dirty analogue techno riff that sounds like it came outta Belgium circa ‘93. No beats but plenty of bleeps and spooky electronics while the riff gets heavily filtered and then some gothic Transylvania organ appears. As much as I’m enjoying the sounds at this point I can’t help but wish I had the visual element accompanying them. ‘Shadow’s has some really raw gritty, noisy techno sounds, a mid-pace 4/4 and again big blood sucking organ sounds. The brief ‘Finale’ closes with some wild bleeps and the sinister sounds retreating back into darkness. It’d be great to witness him soundtracking the film although I’m not sure how often I’d revisit these tracks on wax. The first coupla tracks though are well decent.




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