Gryphon Rue ti wa ni ibaraẹnisọrọ awọn singles ati video fun "Rake's Progress" lati rẹ titun LP 4n_Objx - a gẹgẹbi ko ṣee ṣe iyanu ti o dara julọ lati ọkunrin ti a ti ṣayẹwo ti a ti tẹlẹ lati lori 2022's A Spirit Appears to a Pair of Lovers. Awọn "Rake's Progress" video ti a ti ṣeto nipasẹ Keren Cytter ati awọn ẹya ara ẹya Nathlie Provosty, eyi ti magnetically pe awọn propulsive beat ati squelchy synch chaos ti awọn tune.

Tẹ awọn fidio nibi.

Ti o ni aṣeyọri ati ki o ni aṣeyọri, Gryphon Rue ká igbẹkẹle-ọna-ọna 4n_Objx ti wa ni igbẹkẹle pẹlu ọna ti awọn ti o tobi. Lati awọn drones ti o ni aṣeyọri – – ti a ti ṣeto lati awọn harmoniums ati awọn oscillators – si awọn tactile, gbigbe ati awọn pulsing synths, awọn ọpọlọpọ awọn ọna ti o ni 4n_Objx care, lunge, ati ki o lọ si lati igi si igi, igi si synapse.

Rue jẹ oludari, oludari interdisciplinary, ati a curator – – ati eyi ni music ti wa ni da lori a iyanu pẹlu awọn mimiki agbara ti awọn awọ, “ni wọn agbara lati fi awọn ipa biological tabi awọn ipa molecular,” Rue wí pé. O jẹ music eyi ti wa ni iyanu iyanu, awọn ipersensitivity si awọn ilana, si awọn interrelatedness, ati awọn iṣẹ.</pfseg>

<pfseg id="0">O ni a iru cyberpunk ife nibi, ko ni a nostalgic ọna, ṣugbọn ni awọn ọna ti awọn akọkọ akọkọ ti William Gibson ti iṣeto awọn biological ati awọn sintetiki bi awọn mejeji gbọdọ ati ki o gbọdọ gbọdọ gbọdọ. Ni ipinnu, Rue wí pé, "Mo ti wa ni atunse si music ti o wa pẹlu awọn akositiki ati awọn ọna elektroniki, abstraktions ti gbogbo awọn media eyi ti o tọju creaturely iṣeduro." Yi iru interphasing le mu awọn iṣẹ ti a akọkọ bi Marina Herlop ṣugbọn o ni o ni o ni o ni ọpọlọpọ bi o wa ni aaye pẹlu awọn organic-mechanical push and pull Quique.

“Rake’s Progress” is a chase scene which careens into the consequence that is “Dividend.” There is a sense of gravity in this music. “World’s Fastest Talking Man” threatens to –– and then does –– take off into steady passages reminiscent of Negativland or Terry Riley. 4n_Objx is on the whole syncretic. It grafts and fuses; it is dance music –– if by dance, we might describe the movement of electricity through the brain, fireflies through the night, or fluids through the body. Roughly hewn field recordings spark along channels of finely polished sound throughout 4n_Objx, all folded together by a wild but sophisticated sense of rhythm which will appeal to fans of African Head Charge, CAN’s Future Days, or Roberto Musci’s Tower of Silence.

This is not techno and Rue is not a DJ. Yet the gestures of live mixing feed what Rue calls “elastic dance” – a broader look at left-field dance, nervy grooves with a post-punk aesthetic. These alchemical objects remind us of the moments when punks like Lizzy Mercier Descloux or Liquid Liquid picked up bric-a-brac percussion. In the 90s, Rue was a kid regular at his grandfather’s warehouse Club Vinyl in New York, where he spent time in the DJ booth, eyes fixed on dancefloor heavyweights like Danny Tenaglia and Timmy Regisford.

But such gestures are only parts of a whole, its total shape something like a collaged spiral. Rue’s ability to variously juxtapose, layer, and fuse disparate elements into staggering cohesion suggests, in fact, that no object is truly foreign.

“Auscultation” began with recordings of the sounds emitted by Rue’s own stomach and “Operation for Preferred Embodiment” began with recordings of his father’s voice. “I wanted to transform the voice into an aeolian instrument,” Rue says. The inclusion of these organic, perhaps sentimental elements is, of course, more than novelty. “My music,” says Rue, “is about possession, nourishment. For me it provides a source and space of good work which is a refuge from externalization, from dispossession.” This statement speaks to the depths of Rue’s thinking about his work and the sensitivity of his execution. 4n_Objx is none of the things it appears to be; for that to be the case, it would have to be reduced, externalized. But like the poetry of John Ashberry (one of Rue’s idols), it resists this, reveals itself through mimesis and interplay, dense and shifting.

<pfseg id="0">Rue ni awọn akojọ fun Astral Editions, Not Fun, Soap Library, CAMP editions, ati Tiger Sushi ati ni a ṣiṣẹ pẹlu Ka Baird, Qasim Naqvi, Bergsonist, Merche Blasco, Dean Wareham, Susie Ibarra, Valentina Magaletti, ati ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ ọpọlọpọ

- Oṣuwọn Oṣuwọn

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