Dark, fascinating and emotive electro from the Turkish underground
Following her self-released debut from 2016, it was leading electro-label Touch (see too: Jóhann Jóhannsson, Fennesz ...) that hauled Istanbul-resident sound-artist Ipek Gorgun on board. According to Gorgun, her album ‘Ecce Homo’ (which was heaped with praise) symbolizes our society: full of contrasts. Clear and murky. Dark and light. Soft and hard.
Aside from diverse musical influences - François Bayle, Brian Eno, Éliane Radigue, Aphex Twin and Fennesz - Gorgun doesn’t limit herself to one or two instruments either. Her unique sound comes about from a mix of guitar, piano, field recordings, samples and effect pedals that she modifies with Ableton and MAX.
Pitchfork on ‘Ecco Homo’: ‘The Turkish sound artist balances technical precision, emotional potency, and trenchant cultural critique on an album whose individual sounds are as compelling as their widescreen narratives.’
Basically: thumping, rattling and shaking of the highest class.
The Art of Noise
In 1913, the Italian Luigi Russolo wrote a Futurist manifesto entitled The Art of Noises - L’Arte dei Rumori – in which he declared that music must adjust to the new industrial age and must be a reflection of the noisy city with its ‘hissing, beeping, humming, thumping, rattling and shaking’. If Russolo hadn’t left us in 1947, he would shamelessly sate himself on the (claustrophobic) noise(-rock) and cutting-edge experimental electro that BRDCST presents in the year 2019 – with acts like Blanck Mass, Bliss Signal, Black Midi or Ipek Gorgun.