Issue #78s Sept. '05
Psychoanarchitecture, by the Argentinean born, LA based producer known as Pleqq, is the next stop in Acid-House/Dance-Trance Techno/Electronica. This 9 composition CD lives up to its title. Psychoanarchitecture does what electronica was intended to do: take music and create a type of anarchy from within, all the while staying true to its origin in form and structure. The architecture of the medium is rebuilt by using the same foundation, then twisting the footings of the psychological interpretations of said construction by implementing the instruments of technology. Pleqq utilizes electronic board manipulation, a host of synths, computers, software along with a whole lot of imagination and talent. The result is a futuristic landscape of sounds that flow from ear to ear, speaker to speaker, layer to layer, and level to level. Suspend the here and now and travel with the sound to a not-so-distant future. Take all the Sci-Fi you’ve ever heard, ram it together, give it a beat and a soul, and viola`…
My earliest exposure to electronica was the early 70s hit, Popcorn, by Hot Butter. Using a primitive version of a moog, this studio musician created a simplistic yet entertaining sound that found its popularity with the kids through a show called Wonderama. It would be several years before I became familiar with The Alan Parsons Project brand of electro-prog-rock, which led me to the dawning of electronica in the early New Wave movement. Bands like Gary Numan and The Tubeway Army, M, Mi-Sex, New Musik, Animotion, and others brought the Electronica of the moog/synth into the band as a regular instrumentation of sound. From there electronica found its way into the clubs and DJs with extended mixes/re-mixes, and soon the DJs took over with club mixes. Round about here I dropped out of the electronicia movement. The disco influence turned me off and by then I was not about to drop acid and get onto the dance floor to shimmy and shake along to House, Club, Dance, and even rave electronica. The genre left me behind and it didn’t matter.
Now with the maturation of computers, electronica has truly come into its own. An artist can take sound and manipulate, deconstruct and reconstruct note patterns and chords not typically associated with music. While there may be a true “C” chord played, after it has been squeezed through filters, compressed, decompressed, stretched, flattened, blown-up, and then layered, re-layered, scattered out and brought back again only to be placed down along side a compulsory rhythm – is it then still considered a “C” chord? Maybe, maybe not, but in doing so it’s creating a sound, and when one can create a sound, one is creating music, no matter if it can be easily identified, or just enjoyed for what it is, or for that matter what it might be.
At various times Psychoanarchitechture by Pleqq gives off the feel of a video game and a Sci-Fi movie all wrapped up in one. “T.M.B.,” “Chrome Cake,” “Troika,” and “Squid Pulp” all giving the Beats while thoughts of Tron and Lawnmower Man glide through our brain. Climb inside the computer, stroll along the inner workings of the www, listen to the drum machine beats bouncing off everything. The synth notes ring out within the echoing rhythms drenched in the trippy drama and color of hallucinogenic vibes stretching and morphing into, around, atop and through each other – throw in a dash of industrial noise, press whip and leave the cover off the blender – whatever splatters, splatters and whatever sticks, sticks and those that want to dance while covered in the Electro-Goo will have a trance-like blast doing so.
Speaking of an industrial/sonic, electro-dance wave pulsating you out onto the dance floor, “Absolutely,” with its Alan Parsons leanings, “Leisure Loot,” doing the Acid-House thang, and “Travelog,” with its adventure soundtrack circling in on itself, leave it all out on the club’s floor for you to sweat yourself blind and skinny. Not to wear you out completely, Pleqq drops “Ixchel” in at the two-thirds point, taking it down a notch for a flowing electro-ballad that actually slips by in a bit of restructured semi-waltzy beats.
Finally, “Psychotropical” concludes the disc and our rocket ride through this futuristic landscape of texture and sound by touching us down on an electronicia beach, where we are asked to enjoy the weather in a wash of sonic haze. And, as we gaze into the sub particles of sound, absorbing the power shining on and sinking into our bodies, we soak in the aura unleashed upon us, allowing the future through our ears to tan our brain cells appreciatively.
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