Software Recording Company, the sister label to Mexican Summer, is definitely reeling in some primo content which is impressive for a label that’s only a few years younger than Mexican Summer – they’ve only been around since 2008. With artists such as Oneohtrix Point Never and Autre Ne Veut among the ranks, they’ll have no trouble staying afloat in these competitive times of ours.Â Sculpture is an audiovisual performance duo, comprised ofÂ Briton Day Hayhurst and New Zealander Reuben Sutherland and this is their Software debut. Membrane PopÂ is a cerebral record. There’s not much you can do with it, in regards of interacting, but it is definitely something you can sit back and behold with your ears. While I look at that hand made of peppermint candy on the cover, I can’t help but think it embodies what this record is perfectly. All the synths, drum machines, loops and samples combine in to a sweet, yet mild concoction and much like a piece of peppermint candy, once you have a listen, you’ll want to go back for some more to satiate your palate. Suffice it to say, this album is absolutely dew-kissed. Check out the album below via the Spotify stream and see what you think of it. Cheers!
The self-described opto-musical agglomerate was born in 2008 after a chance encounter between British musician Dan Hayhurst and New Zealand animator Reuben Sutherland. By combining practices, the pairâ€™s first test splattered a psychedelic palette that pushed them to explore sensorial intricacies emerging from chance operations.
Raw materials for Sculptureâ€™s music include a mix of analog and digital practices. In Hayhurst and Sutherlandâ€™s hands, tape manipulation, samples, found sounds, aleatoric and algorithmic programming and live improvisation become more complementary than you might imagine.
Sculpture draws from experimentalism to promote new potentials for pop and electronic music in an age where many of our sci-fi fantasies have become mundane occurrences. â€śIâ€™m aiming to make a coherent, adventurous electronic pop record with its own voice and identity,â€ť Hayhurst explains. â€śI donâ€™t think experimental music has to be dark, dif?cult or joyless. I try to make something playful, and maybe a little absurd.â€ť
At the center of Membrane Pop is a phenomenological approach to sound and performance. â€śSymbolic Moleculeâ€ť is a morphing, unsettled groove, but its addictive properties remain potent. â€śPolymorphic Operatorâ€ť bubbles with a sort of chemical effervescence; the ghost of Jamaican dub modulating itself into an infinite haze. Sculptureâ€™s compositional predilection emerges amidst scrambled sound worlds in â€śHackle Scam Populatorâ€ť, while â€śDistraction Displayâ€ť is perhaps the closest ambient cut on the record.
What makes Sculpture sculptural (we bet the original Abstract Expressionists would have dug them) are moments where their craftsmanship feels almost animate within the constraints of musical time. In the opening seconds of â€śLingual Junkâ€ť, these moments appear to freeze and unthaw an old recording. As the track narrative unfurls, you can feel Hayhurst fighting to acclimate the sound from out of cryostasis and into his reality.
If a majority of the music you hear today resembles the hard-set stone carvings of history, then Sculptureâ€™s offerings are imagined, transitory statues with no fixed place in time. Hearing Membrane Pop in a different context, time or place may well bring about a different experience. Or perhaps a similar result.
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