Anna Vo | She Continues To Fall
Dead City Dreaming: Exploring the work of Egyptrixx
It’s not always easy to find depth in dance music. When producing for the club, the focus has often been aimed toward moving the feet rather than the brain. When people refer to a beloved club as their church, what do they really mean?
More and more, forward-thinking producers are answering that question by challenging the ritual of clubbing itself, with productions that evoke the burning twinkle of stars as much as the cold gleam of polished chrome. Dance music that explores the imagination also opens the spirit to dream, allows the mind to expand itself upward even as the body propels itself forward across the floor. This could be why A/B to Infinity, the sophomore LP from Egyptrixx, feels like one of Night Slugs’ strongest releases to date. It also helps that David Psutka, the mind behind Egyptrixx, comes from a background that few dance producers have roots in: noise, black metal and drone. “There are a lot of structural and conceptual similarities between club music and black metal,” Psutka told me. “All components of music are not created equally—some are more important than others. Songwriters who understand how a certain kind of music works will emphasize some over others. Black metal for example, emphasizes repetition and simple melody over say, dynamics or virtuosity. Since black metal is an entrancing, hypnotic style of music, this is a correct and effective approach.”
Indeed, these same rules have been applied to the production of A/B to Infinity: pulsating and sinewy compositions that feel like stretched moments in the space-time continuum as meditative as they are propulsive. Psutka, a practitioner of Transcendental meditation (something he feels is “an antidote to the Internet”), imbues his work with the same ideals. “I’ve become pretty fixated on the mantric idea—to repeat something simple and easy enough times that you get a complex and impressive result.” Though Psutka says he doesn’t like to use specific and literal symbolism, preferring instead to keep things abstract and open for the listener’s mind to fill in with their own ideas, both the album and its integral accompanying videos by Berlin artist Andreas Nicolas Fischer are strewn with (intentional or otherwise) literary and cinematic references to futuristic dystopia that recall the writing of William Gibson and J.G. Ballard, the minimalist artwork of Donald Judd, and the futuristic metropoles portrayed in films such as Blade Runner and Ghost In The Shell. Water, both a source of life and spiritually of cleansing and rebirth, plays a large role in the aural aesthetic of the album.
Read my full interview here.
My nudes leaked too; unfortunately all the comments have been suggestions for me to install a more secure firewall.
# *in Rodney Dangerfield voice*