Beatrice Dillion and Karen Gwyer take a side each for some minimal, percussion-focused electronic experiments. Dillon has previously released on Where to Now? and Gwyer has done things for Opal Tapes; a sterling innings. Imagine if Charles Hayward made a minimal techno album, and you’d probably get something like this -- percussion becomes tonal and textural, as well as rhythmic.
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- Beatrice Dillon / Karen Gwyer by Beatrice Dillon / Karen Gwyer
8/10 Laurie Staff review, 22 June 2016
Left of the field and off of the kilter is this highly anticipated split 12” between rising star Karen Gwyer and the perhaps even more fledgling producer/DJ Beatrice Dillon. Oh, don’t get me wrong, this is still a record filled with the technoish 4x4 thumping that we’ve come to expect from the both of them, but each with their own wink of weirdness.
Dillon’s side ‘Curl’ is born into the world half-made, with little stutters of analog percussive synth tones trying to assemble themselves into a regular pattern, eventually getting there and establishing a marching machine band. The basic groove is the same, all tonal but punchy, subtly tweaked by Dillon. Her expert touch further animates the sound, bringing in some rasps here and squeaks there before she has enough and switches it off.
Over to Gwyer on the B at 33rpm - it’s gonna be a journey. It’s a great example of her fusion of calm, unfurling synth with the frantic beat patterns of techno, the intro being shuffling hats with arcs of drone chilling behind like the new age-y tones of the early '80s. After the layers build, they collapse into a fast-paced 4x4 kick groove and the dronier synth gives way to an acidic line that jumps from bass to lead role and back with each repeat. She always talks about wanting to keep her tracks banging; you’ve stuck by that brilliantly Kazza. A great 12” overall, that feels like a build to a climax as you move from Dillon to Gwyer’s offering.
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