- As of late, Karen Gwyer has made a habit of delivering the hard stuff—banging, bastardized acid and techno made from hardware. Records like last year's excellent Bouloman EP and this year's split 12-inch with Beatrice Dillon were equal parts stark rhythm and distorted texture, which isn't too far from the sound of Prophase Metaphase Anaphase Telophase. Gwyer's latest record hits with a gnarled, psychedelic fervor, but it's also some of the prettiest music she's released since her synth-centric 2013 album Needs Continuum.
Around the muted 303 sequence of "Prophase Metaphase Anaphase Telophase" are
threads of synth, glowing and floating like jellyfish tentacles. On the B-side, "Meiosis Gametes" tempers its blown-out bass frequencies and blasted disco crawl with a loop of bewitching melody. Both tracks are about nine minutes long and approach similar ideas from opposite angles: the drums of "Prophase" keep to a straight line as Gwyer's synths flourish and flow, and only the beat of "Meiosis Gametes" mutates into strange shapes. Each track is executed with a clarity and precision uncommon among such strains of noisy dance music. Even the beatless interlude "And Again Those Eyes" keeps its drifting analog tones anchored to a basic bass rhythm. What could become indulgent jams in the hands of lesser producers are functional yet evocative tracks in Gwyer's hands. How she balances the many contrasts of her sound makes this record another milestone in her career.
TracklistA1 Prophase Metaphase Anaphase Telophase
B1 And Again Those Eyes
B2 Meiosis Gametes