Algorithms are only reflective of the society which creates it. The nations biases and presumptions of class aptitude revealed dramatically in the U.K. school results fiasco, whereby the flawed predictive model used by the examinations regulator Ofqual to assign grades to students unable to take their exams due to COVID scored pupils from public school higher than the majority in state comprehensives. Similarly, the plethora of data-dictated playlists vying for attention on streaming sites like Spotify are, as consistent with the increasingly marketised world, pushing for perennial consumption over the authentic discovery of underrepresented artists. There is no risk in the world of voracious capital, and as the ubiquity of automated culture grows greater, our scope for a truly alternative community or movement fades into further artifice.
“…the dissolution of space and time, the emptying out of the future – the narrowing of our collective Horizon.” There’s always been a cerebral rigour to Martial Canterel‘s work. Initially studying philosophy before being taken by the synthesizer in his college music lab, Brooklyn based artist Sean McBride began crafting a thoroughly chilly take on synthpop anchored by a veneration for live analogue hardware and heady examinations of existentialist themes. Finding greater fame as one half of Xeno & Oaklander, McBride has steadily been releasing a string of work under the Martial Canterel moniker which continues his immersion of the coldwave heritage and provides a crunchier, industrial menace in contrary to the more glacial and ethereal electronics of his collaboration with Liz Wendelbo. Latest EP Horizon Ltd. sees McBride explore the eroding space and vision for the mistakes and variables which encourage art and the creative process.
EP opener ‘Remake the World’ establishes the mission statement succinctly and with dramatic urgency. A call to arms against the forces of passivity and the derivative with harsh drum beats and foreboding melody bristle against McBride’s distinct mastery of cascading sequencers and volatile frequencies. Caustic grooves slither with a weird carnal strut on the robotic swagger of ‘Melegseg’ (meaning ‘warmth’ in Hungarian), an irresistible blend of abrasive but funky percussion and cutting synths that slink and glide like the singing keys on Depeche Mode’s ‘Leave in Silence’. Excavating his back-catalogue to rework 2007’s Other Half, the austere sting of the original is given greater sonic expanse of frenetic angst which recalls the aggressive dissonance as heard on Gyors Lassú, before the title track hits you with expert punchy basslines and metallic clangour which demonstrate McBride’s masterful ability to fuse seemingly difficult textures with dancefloor energy.
The corporate death grip of our collective horizon has been expertly articulated in another fantastic entry to a body of work which has been establishing itself as one of the most forward-thinking and pioneering in contemporary electronic music. Cutting the iciest and most fascinating examples of minimal-synth, Horizon Ltd. shows clearly that Martial Canterel is still full of ideas and retains a clear voice in the crowded synth scene filled with ‘imitations of imitations’ he no doubt inspired.
The latest Glaciers is up! Another exquisite traverse across chilly synythscapes and new wave tundras! Make sure you head to Noods Radio for the next hour of all things icy, ethereal, and glittering! 🎹 ❄️ 👌
Berlin’s grip on the cutting-edge of post-punk and electronic music never seems to ebb, from Bowie’s Kraftwerk inspired Hansa records, the alienated clangour of the Neue Deutsche Welle, to the hedonistic techno Mecca of The Berghain, the city’s innovative energy continuing to inspire. With no sign of the old Prussian capital resting on its laurels, Detriti Records has spent the last decade releasing numerous synth and coldwave tapes, establishing itself as one of the leading champions of “beautiful, interesting and sexy music”, to quote label founder Davide Lace.
The latest addition to the Detriti roster is Danish EBM act Albert Severin. A solo project from former MOTH member and Melting Walkmen frontman Patrick Ringsborg (and possibly named after a distinguished French soldier of WW1), the new beat Copenhagener has released a string of tapes exploring a penchant for acid techno. New tape Athletics sees Ringsborg pursue a tougher, more industrial direction, including three songs from debut tape Severin’ Heads re-recorded with harsher potency.
The very first second of the opening track ‘B.R.I.A.N.’ establishes the attitude promptly: Lean, muscular and groovy. A thick bassline stomps alongside punchy drum machines with brass presets straight out of classic Wax Trax! so infectious it’ll make any committed rivethead proud. Ballardian car crash fascination pervades the dramatic ‘Impact’ warped audio samples of crash PSA’s haunt the strong shimmering melody like a spiritual successor to Front 242’s ‘Don’t Crash’. The enlightened serenity of the tape cover radiates on ‘Sugarfang’, a beguiling tranquillity of ethereal keys behind the frenzied percussion before ‘Modem’ jumps headfirst into Ringsborg’s love of squelchy acid house without totally abandoning that special industrial grit. Final track ‘Albert’s Song About the inherent Flaws and Fatal Consequences of Late Stage Capitalism’ says it all, leaving you pondering the neoliberal nightmare we’re subjected to with one last crunch of programmed abrasion and a welcome introduction of Gothic piano.
Albert Severin has managed to distil a wide range of sub-genres into a cohesive kick of an EP while always maintaining its terse minimalism. Athletics is tough as fucking nails yet never loses its eye on making you dance.