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Xanopticon, "Liminal Space"
Hymen
A single exposure to the brainstem-severing breakcore experimentationof Xanopticon's debut album led me to ask a vital yet curious question:Who needs drill 'n bass anymore? At this point on the electronic musictimeline, the recent output of once innovative and influentual artistslike Aphex Twin and Squarepusher pales in comparison to their earlierwork, creating a demand for new blood to take their place in thespotlight. Like his Hymen and Mirex labelmates Venetian Snares andFanny, Xanopticon's Ryan Friedrich seems poised to join, and perhapseven lead, this new world order. The dizzying array of spastic loopsand patterns on Liminal Spaceare composed of fractured beat shards and subtle atmospheres onceburied in the pit of a rogue sampler, but now unearthed. From the firstsquirming bleeps and belching kicks of the opener "Constant," itbecomes remarkably clear how the next 53 minutes are going to turn out.With a crisp and serious sound more akin to Autechre than Mu-Ziq,Xanopticon spews barrages of ferocious percussion at breakneck temposwith few reprieves along the way. Not suprisingly, melody plays asubtle and often subdued role here for the most part, taking a backseatto the hard pounding drumwork. There is little time to catch yourbreath during the microsecond-long dark ambient pauses that peppertracks like "These Days" and "Drunxpla." However, "Symphwrak" standsout as the true highlight of this release, starting off with a eerieminute of chilling chord progressions that serve as precursor for thenow-standard Xanopticon mayhem. Along the way, bizarre buzzing swirlingsynths force themselves into the forefront of the track for as long asthey can, overall truly embodying what could possibly be classified aspost-acid music, if I were to create a new subgenre on the fly. As Isaid here back when I first heard his contribution to 2002's Masonic compilation, Xanopticon is the new Venetian Snares. Hell, I think he might be even better. -
A single exposure to the brainstem-severing breakcore experimentationof Xanopticon's debut album led me to ask a vital yet curious question:Who needs drill 'n bass anymore? At this point on the electronic musictimeline, the recent output of once innovative and influentual artistslike Aphex Twin and Squarepusher pales in comparison to their earlierwork, creating a demand for new blood to take their place in thespotlight. Like his Hymen and Mirex labelmates Venetian Snares andFanny, Xanopticon's Ryan Friedrich seems poised to join, and perhapseven lead, this new world order. The dizzying array of spastic loopsand patterns on Liminal Spaceare composed of fractured beat shards and subtle atmospheres onceburied in the pit of a rogue sampler, but now unearthed. From the firstsquirming bleeps and belching kicks of the opener "Constant," itbecomes remarkably clear how the next 53 minutes are going to turn out.With a crisp and serious sound more akin to Autechre than Mu-Ziq,Xanopticon spews barrages of ferocious percussion at breakneck temposwith few reprieves along the way. Not suprisingly, melody plays asubtle and often subdued role here for the most part, taking a backseatto the hard pounding drumwork. There is little time to catch yourbreath during the microsecond-long dark ambient pauses that peppertracks like "These Days" and "Drunxpla." However, "Symphwrak" standsout as the true highlight of this release, starting off with a eerieminute of chilling chord progressions that serve as precursor for thenow-standard Xanopticon mayhem. Along the way, bizarre buzzing swirlingsynths force themselves into the forefront of the track for as long asthey can, overall truly embodying what could possibly be classified aspost-acid music, if I were to create a new subgenre on the fly. As Isaid here back when I first heard his contribution to 2002's Masonic compilation, Xanopticon is the new Venetian Snares. Hell, I think he might be even better. -
