Austrian DJ and producer Susanne Kirchmayr (aka Electric Indigo) is an important voice in electronic music circles, with an influence that transcends her music; she founded the Female:Pressure network, an online information resource created to improve the representation of female, transgender and non-binary electronic and digital artists. She's also well-known for her live performances, having played a dizzying array of festivals and clubs in more than 30 countries around the globe.
Ferrum is her debut for Editions Mego, and it's a dazzling feat of exploration into the sonic properties of metallic objects. Kirchmayr has captured the emanations of a plethora of objects crafted from a number of different metals, and used these reverberations to build a suite of compositions that stretch the boundary of electronic music to its breaking point.
Each track is a microcosm constructed from eerie resonances. "Ferrum 1_2" juxtaposes echoing drops of liquid against blood-curdling clangs and sinister washes of sound. Eventually, the skeleton of a beat throbs into focus before the entire proceeding collapses into a heap of crumbling metal that sounds like it's being digitally crushed into oblivion. On the other end of the spectrum is "Ferrum 4," which takes on the form of an oblong techno banger. Percussive stabs coalesce into a cohesive rhythmic pattern over a pounding 4/4 bass beat.
Kirchmayr has wrung every last drop of sonic potential from her metallurgic implements, creating a singular universe of engaging and highly listenable tracks. With Ferrum, she plays phantasmagoric emanations off of danceable rhythms, and this experimentation works in her favour.
(Editions Mego)Ferrum is her debut for Editions Mego, and it's a dazzling feat of exploration into the sonic properties of metallic objects. Kirchmayr has captured the emanations of a plethora of objects crafted from a number of different metals, and used these reverberations to build a suite of compositions that stretch the boundary of electronic music to its breaking point.
Each track is a microcosm constructed from eerie resonances. "Ferrum 1_2" juxtaposes echoing drops of liquid against blood-curdling clangs and sinister washes of sound. Eventually, the skeleton of a beat throbs into focus before the entire proceeding collapses into a heap of crumbling metal that sounds like it's being digitally crushed into oblivion. On the other end of the spectrum is "Ferrum 4," which takes on the form of an oblong techno banger. Percussive stabs coalesce into a cohesive rhythmic pattern over a pounding 4/4 bass beat.
Kirchmayr has wrung every last drop of sonic potential from her metallurgic implements, creating a singular universe of engaging and highly listenable tracks. With Ferrum, she plays phantasmagoric emanations off of danceable rhythms, and this experimentation works in her favour.