With her double-LP sophomore effort, Hand That Heals / Hand That Bites, Polish producer Aleksandra Grünholz has created something epically fantastic. Split into two modes, one contrasting stiffly electronic sounds and sophisticated processing applied to humanizing field recordings and abstract noise manipulation, and the other of cold digital beats embodying a post-apocalyptic seriousness with an undercurrent of seething anxiety and overwhelming dread.
The artwork supports the album's theme. Both sides of Grünholz's force are represented in the bug-covered spring greens and white, denoting the healing, and the shock of summery, rosy red floral patterns, embodying the bite. These murals are splayed across the lush gatefold CD pressing, steeped in the promise and passion of nature.
The overall sound is acutely arranged, sparse yet rich, reminiscent of the minimal techno of early Future Sound of London and Autechre alongside the composed chaos of Ben Frost. Though many moments get the blood pumping, the album was conceived more so for dedicated home listening, with each experience revealing deeper intricacies.
(Monotype Records)The artwork supports the album's theme. Both sides of Grünholz's force are represented in the bug-covered spring greens and white, denoting the healing, and the shock of summery, rosy red floral patterns, embodying the bite. These murals are splayed across the lush gatefold CD pressing, steeped in the promise and passion of nature.
The overall sound is acutely arranged, sparse yet rich, reminiscent of the minimal techno of early Future Sound of London and Autechre alongside the composed chaos of Ben Frost. Though many moments get the blood pumping, the album was conceived more so for dedicated home listening, with each experience revealing deeper intricacies.