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The Quietus | Features | Hyperspecific | Hyperspecific: Dance Music For February Reviewed By Jaša Bužinel


Jaša Bužinel
, February 25th, 2021 07:00
Hyperspecific is back with the first instalment from our new columnist Jaša Bužinel, bringing you a selection of exciting new releases from Kode9, Autechre, Rian Treanor, Venus Ex Machina, Pauline Anna Strom and Giant Swan, among others
Venus Ex Machina by Karsten Buch
My name is Jaša Bužinel, a music writer from Slovenia, and I m going to be taking over tQ s monthly Hyperspecific column, dedicated to pinpointing the most intriguing electronic, dance and experimental electronic records released each month. I m writing this from my Central European motherland where I currently live. As the pandemic slowly approaches another year, we ve reached a, hopefully temporary, point in dance music history where it doesn t really matter where you are situated as a music writer. Be it in London or Ljubljana, we all have access to the same nexus of deterritorialised electronic music scenes which currently only exist in cyberspace v ....

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Pauline Anna Strom: matters of time


Living in a pandemic has distorted our already fragile grasp of time. Days turn into weeks at a glacial pace, only for months to evaporate in an instant. How are we supposed to deal with it all? One option would be to rethink how we interact with time entirely, and look towards something more transcendent and liberating. It’s a strange idea, sure, but it’s one that blind synthesist and composer Pauline Anna Strom made a compelling case for throughout her life. As Brooklyn label RVNG Intl. marks the posthumous release of the Bay Area-based artist’s first new music in over 30 years, it feels timely to reflect on the life and legacy of this unique artist, who sadly passed away in December 2020 at the age of 74. ....

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Music From The Mind's Eye


Pauline Anna Strom, who expanded synth music s color palette in the 1980s, died in December at 74. The posthumous album em Angel Tears in Sunlight /em , out Feb. 19, is her first in over 30 years.
On the cover of Pauline Anna Strom s 1982 debut, a Dali-esque eye hatches from a skyborn egg, framed by a rainbow wrapped around the cosmos. The image, painted by Richard Karma Moffett, sits against a plateau of perfect white; ornate calligraphic text is superimposed at the top and bottom, powder blue like the atmosphere. Like that visual introduction, the alias under which Strom recorded, Trans-Millenia Consort, instantly conveyed the epoch-spanning otherness of the Bay Area synthesist s instrumental space music. Initially, it took the form of mellow waves and pulses, evocative soundscapes with titles like Emerald Pool. The sonics would grow sharper and more discordant, but her work never strayed from its freewheeling take on memory and consciousness, always committed to explod ....

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