TSVI’s music is ruthlessly environment friendly. It wasn’t at all times that method; eight years in the past, the Italian-born, London-based artist (Guglielmo Barzacchini, aka Anunaku) was making chrome-plated electro funk indebted to the sound of Bok Bok’s Evening Slugs label, with fluorescent-hued chords swimming in humid reverb. However lately, his music has gotten steelier and extra unforgiving. The drums have sharpened; the tone colours have leached out. His most up-to-date solo launch, final yr’s Sogno EP, fused dancehall and tech-step with army precision; the drums have been so dry, there might need been silica gel packs within the combine.
The British experimental digital musician Loraine James, however, trades in precisely managed chaos: hair-trigger beats, jittery vocal samples, little twisters of white noise. Like a bull in a semiconductor manufacturing unit, her drums lurch dangerously, threatening to shatter the groove with each syncopation; her chords spill over the grid like inkblots on graph paper. And on current releases—significantly the self-titled album beneath her new alias Regardless of the Climate—a sentimental ambient sensibility has settled in like a pastel haze. So what occurs when two such diametrically opposed types come collectively? Moderately than matter annihilating antimatter, they set up an uneasy type of symbiosis, with TSVI’s robust, armor-plated drums punching via James’ structure of unpredictability.
Some tracks are extra balanced than others. On “Awaiting,” it might be simple to overlook Barzacchini’s fingerprints fully. The music begins with a ruminative string of piano notes, like Harold Budd sitting absentmindedly at a waterlogged upright. It could possibly be an outtake from Regardless of the Climate, not less than till a muted kick drum sullenly sidles into view, tracing circles like a hungry shark. Two opposing drum tracks compete for management: One’s a spartan snare that does little greater than hold time; the opposite’s a periodic eruption of breakbeats that appears hellbent on obliterating it. Excessive above, an angel choir coos wordlessly, as if mourning the destruction under. These voices return on the EP’s remaining monitor, “Belief,” the one one with out drums; once more, you may simply assume its reverberant piano and gauzy pads have been James’ work alone.
Different tracks provide a extra built-in fusion of the 2 musicians’ types. They recorded the EP whereas sharing a studio throughout London’s final lockdown interval, and you may sense their presence within the room collectively, arms on the controls, feeling out every others’ instincts. “Gloom” molds the identical primary components from “Awaiting” right into a harder, extra propulsive type. “Everlasting” rises steadily, like a machine assembling itself from a scrap heap; battered, haphazard percussion is formed right into a gradual, muscular groove haloed with a silvery synth melody. And “Observe” represents the apotheosis of their inventive union, drawing out nice, sweeping, melancholy synths over spring-loaded drum’n’bass cadences. Regardless of its larger rhythmic focus, no two bars sound fairly the identical. It flows like a dialog. At a second when the good cash in dance music is on massive, boisterous membership anthems, this tangled, detuned, introspective EP is refreshing: an intimate image of two buddies shutting out the world and in search of a typical language.