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Heterodyne has reportedly been in-progress for 13 full years, which is quite something. The result is Arash Moori’s magnum opus, a suite of experimental electronics that is often rhythmic and sometimes harsh. Always compelling though, especially when you learn that many of these sounds are from self-built devices. On Type.

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Heterodyne by Arash Moori
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8/10 Jim Staff review, 01 November 2015

This debut album of heavy electronics from Arash Moori reaches back to the early naughties when Moori and Type honcho John Twells were both art students in Birmingham. Since then Moori has worked in Finland and Madrid developing his art with the use of strobe lights, fluorescent lights, radios, plasma balls and customised electronic devices. The Finnish connection is telling, as upon first listen the most obvious comparisons would be to the bracingly raw electrical surges channelled by such Nordic heavyweights as Pan Sonic and Joachim Nordwall. Just check out epic closer ‘Tantalum March’ with it’s snarling mains hum and menacingly hypnotic electronic pops that roll into a screaming transistor and dubby industrial freakout- it could easily pass for Pan Sonic in their prime.

Elsewhere, Moori injects an emotive dose of post-rave melodicism into what would otherwise be quite an overwhelmingly oppressive sound world. He does this most effectively on ‘Ruins’, where a sizzling, overdriven organ riff accrues layers of orchestral swells and pulsating textural patterns, all shifting with a stately grace that Type devotees will adore. Moori is at his most idiosyncratic though when he generates powerfully psychoactive sound-screens from waves of static and stroboscopic artefacts on tracks like ‘Parasitic Noise’ and ‘Illusory Systems of Broadcast’- both of which conjure trippy spectral shapes from the greyscale brutalism of Moori’s aesthetic.    



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