![]() ![]() ![]() The album begins with "Venice Dreamway" (the only track with a title), essentially a two-minute free jazz piece of frantic drumming and winding synth drone. It floats by on the same cloud of enveloping tape hiss and warped drones, but it's interrupted by an especially sharp sense of rhythm previously unseen in the group's blunt-edged ink smear. In some ways, Black Is Beautiful is the duo's most confrontational piece of music yet. Never has that line been more blurred than on Black Is Beautiful, a surprisingly coherent record full of vignettes that feel alternately archival, ethnographic and as usual, flickering and ephemeral-glimpses of musicality that flutter away just when you get comfortable. Their own work (or what you'd guess are their own bits) sound just as damaged and aged as the sampling material they work with, a sort of pointillist outlook on music. Other contemporary and slightly historiographical acts like Demdike Stare have blurred the lines between sampled and original material, but no one does this more literally than Blunt and Copeland. ![]() ![]() Which is to say, it's another long-form record of condensation-soaked tapes, warbly VHS reels and badly compressed YouTube rips. Either way, things don't sound all that different on Dean Blunt & Inga Copeland's first full album for Hyperdub. I'm not sure if the group formerly known as Hype Williams are going by their (supposedly) given names now because of a copyright issue, or because their potentially imaginary third member Denna Glass is gone. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |