What happens if the approach of an album like this year's by Autechre is fully realized, leaving the machine with the inane task of creation? You might find yourself thrust into an absurd place. That's what happens with this album, a posthumous and extreme position of a ratio that wields randomness and makes it foundational.
Roland Kayn, a composer dedicated to creating cybernetic music, a man with the goal of becoming less and less instrumental in the creation of his music, thus granting his machines such freedom that even perceiving a method, a formula within the machine itself becomes impossible. From the early years (he was a part of the Gruppo Di Improvvisazione Nuova Consonanza with, among others, Morricone) his production finds compendium and completion in this posthumous titan curated by Jim O'Rourke.
From the solar system to the Milky Way. Here things get truly difficult. The "album" lasts almost 14 hours, unapproachable. Not a rhythm, which still made it possible to cling to something in the NTS Sessions, not a melody, only pure laws, clear laws of behavior and locomotion towards the next shapeless mass, which is always unrepeatable. Space as an oceanic abyss, as a tourist trip among entities that mock our vision of reality. Here there are no computers, Professor Kayn's cabinets are posters of those of Klaus Schulze and company, they are not bound by the chains of software. This is why when a choir of female voices suddenly bursts in at the end of Arasa, the impression is utterly unsettling, extreme.
Turning up the volume and closing the door means battling with an otherworldly, Lovecraftian vertigo, not in jest. In his "cosmology", besides the famous Cthulhu, the Outer Gods also find space, elder siblings, indeed gargantuan caricatures of our earthly deities, themselves enthroned by the sublime Azathot, "the blind god who bubbles and blasphemes at the center of the Universe". Here, it seems as if it must appear at any moment, or even that you are already in its horrific court.
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