{"title":"Beatrice Dillon And Call Super","description":"","products":[{"product_id":"blue-dot","title":"Blue Dot (12\")","description":"\u003cp\u003eA1. Blue Dot \t4:35\n\u003cbr\u003eA2. The Fludd \t5:46\u003c\/p\u003e\n\n\u003cp\u003eB1. Veto Plank \t7:08\u003c\/p\u003e\u003cbr\u003e--\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eOndo Fudd - Blue Dot\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eSuperb experimental house and ambience from Call Super's Ondo Fudd alter-ego. One of the finest releases of 2016 so far - and can't really see this being bettered.\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/nKNw8_kmYJQ\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/qLCGK_6qftY\" frameborder=\"0\" allowfullscreen\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Ondo Fudd","offers":[{"title":"Default Title","offer_id":42244275437792,"sku":"TTT043","price":12.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0618\/5988\/9376\/products\/Blue-Dot.jpg?v=1640602942"},{"product_id":"can-i-change-my-mind","title":"Can I Change My Mind? (12\")","description":"\u003cp\u003e\u003cstrong\u003eBeatrice Dillon - Can I Change My Mind?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eA1. Can I Change My Mind?\u003c\/p\u003e\u003cbr\u003e--\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eBeatrice Dillon - Can I Change My Mind?\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eExceptional, 15 minute long dancer from Beatrice Dillon, blessing the 12 x 12 series with a concatenated ‘nuum sidewinder Can I Change My Mind?, where the London-based artist nimbly finds the square roots of jungle, techno, noise and minimalist dance music firmly anchored in steppers’ dub and West African percussive tradition. If you’ve ever been snagged by Sotofett, DJ Krust or Shackleton’s devilish dubs, this one’s for you!\u003c\/p\u003e\n\n\u003cp\u003eSince first emerging with a highly regarded monthly NTS radio show, a reel of widely-praised mixtapes for The Trilogy Tapes, Blowing Up the Workshop and, most recently, a mix with Ben UFO for Wichelroede, Beatrice’s uniquely focussed solo works - including two excellent EPs for Where To Now? and a split with Karen Gwyer - along with two acclaimed LPs with Rupert Clervaux and her recent remix for Helm on the PAN label, have all come to define a curious juncture of worldly rhythm studies and probing electronics which arguably exists in a long lineage of avant-garde experimentation done at the service of ‘floors both real and imagined.\u003c\/p\u003e\n\n\u003cp\u003eCan I Change My Mind? is Beatrice’s most tracky solo production to date, and also the most singular, adroit demonstration of what makes her tick, combining and parsing the most affective, tactile parts of Black Atlantic percussive patterns with a learned appreciation of dub-style economy and concrète texturing.\u003c\/p\u003e\n\n\u003cp\u003eAcross 13 minutes of morphing, fractious rhythm, Beatrice renders clear the prismic and rhizomic dub binds and syncopations that connect original, rolling African drum traditions with Afrobeat and highlife, and likewise between proper UK roots steppers, house and ‘90s jungle, or, for that matter, the mosaic of modern antecedents which continue to be informed by those styles - from the rites of Shackleton to Tessela’s visceral techno swerve and the mercurial grooves of Rian Treanor or her sometime collaborator, Kassem Mosse.\u003c\/p\u003e\n\n\u003cp\u003eUrged by the intuition of a helpless riddim fiend and premo DJ, Beatrice nimbly synchs swollen, globular bass, needlepoint hi-hats and shocks of flinty amens at 150bpm in a deadly, mutating bogle, effectively exploring every interstice of half, double, and triplet-timed calculation with devilish sleight of hand and cadence; never letting the ball drop whilst suggesting myriad points of interpretation for the dancers and DJs.\u003c\/p\u003e\n\n\u003cp\u003eIt’s a singular work of experience, intuition and technique, and perhaps surprisingly only her 3rd solo release proper. But its daring ruggedness and stringency is a clear indication that Beatrice Dillon is only just warming up and coming into her own. There’s only one side, one track. But it’s all you need.\u003c\/p\u003e\n\n\u003cp\u003eLimited Edition one-sided 12\". Reverse-board sleeve with printed inners.\u003c\/p\u003e","brand":"Beatrice Dillon","offers":[{"title":"Default Title","offer_id":42244287660256,"sku":"BK12X1202","price":11.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0618\/5988\/9376\/products\/Beatrice-Dillon-Can-I-Change-My-Mind.jpg?v=1640603123"},{"product_id":"inkjet-fluo","title":"Inkjet \/ Fluo (12\")","description":"\u003cp\u003e\u003cstrong\u003eBeatrice Dillon And Call Super ‎– Inkjet \/ Fluo\n\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003eA1. Inkjet\n\u003cbr\u003eB1. 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It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.\u003c\/p\u003e\n\n\u003cp\u003eRecorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth\/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.\u003c\/p\u003e\n\n\u003cp\u003e‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.\u003c\/p\u003e\n\n\u003cp\u003eWith a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5\/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong\/light, sudden\/restrained, and bound\/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palate-cleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.\u003c\/p\u003e\n\n\u003cp\u003eCrucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable\/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. 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