Review: It seems whenever you look at it we are always waiting for a Beatrice Dillon LP. Over the years she's built a discography around labels like Where To Know?, Boomkat Editions and Hessle Audio, with other intriguing works coming through Kassem Mosse's Ominira, The Trilogy Tapes and most recently, in album form (2016), a collaborative album with Rupert Clervaux for Paralaxe Editions. It somehow makes sense then that PAN are the ones to release the British artist's most singular and definitive work yet, pulling together her penchant for syncopated and disjointed drums to meet and fill the gaps between tensions and releases of sound and dynamic that reference all matter of contemporary and avant garde compositions and production techniques, with Dillon still treading that precarious line between abstract club music, experimental sound art and conceptual sound design.
Review: Bill Kouligas' always unpredictable PAN imprint brings forth some cutting edge experimental electronics once again in the form of Erik Wiegand aka Errorsmith. Solo artist, a member of MMM and half of Smith 'n Hack in addition to producing some amazing musical software for Native Instruments. Superlative Fatigue is his first album in 13 years and reflects this tension between over-the-top/hysterical emotions, against more deeply felt expressions of realness. Wiegand has stated that it is a rather accessible and cheerful collection of tracks, compared to his usual work; going from 'ridiculously cheerful' but sincere and emotional all the same. From the broken, tongue in-cheek party techno of "I'm Interesting, Cheerful & Sociable" to the blunted and computerised hip-hop of "Retired Low-Level Internal Server" or the downright indescribable weirdness of "Internet Of Screws" it's all in all a pretty compelling listen.
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