why we love this
Belgian drummer Lander Gyselinck flirts with rythms and repetition, a must listen.
about the record
There is an essential point that is somehow easily overlooked when thinking about human–machine interaction, and that is that the machines in question were — for now, at least —made by humans in the first place, which means that they were designed with human needs and desires at their core. What Belgian drummer Lander Gyselinck appears to be doing on Disleksikon is to reaffirm these desires, as refracted through the machines of electronic music. Because even though there are darker moments and sounds here as well, the overall feeling that this short set of tunes breathes is one of joy.
The EP is a selection of 7 tracks culled from a much larger body of compositions that focuses on the language of beats and textures. Everything you hear on the EP is percussive in essence, but the sheer variety and inventive approach to many of the ‘instruments’ used adds melody and harmony. From the outset, the listener is struck by the very tangibility of these sounds. The music opens up vistas of something we might just be moving towards: another green world. That is, not a virgin pre-human greenness, but a new constellation in which salvaged and reassembled fragments of the past, the organic and the synthetic are compelled to find a new temporary balance.
Toms, bells, shakers and wood blocks give an almost tribal, polyrhythmic aspect to a trap beat in opener ‘Sandaalwoud’, and all sounds are projected in a very real navigable space, one that feels decidedly exotic. There is a similar breeziness in tracks like ‘Whale’ and ‘Sun Salutations’ that extend the nature tropes while incorporating different beat references from the sluggish (the former, with its whale song bass sounds) to the hyperactive (the latter, with its summery beach party vibe). In other tracks, the mood shifts somewhat: ‘Beaumen’ offers a breather, while slow-burning closer ‘D-earthless’ is by far the darkest moment here, with the earlier wood textures replaced by harsh metallic tones. It is an impressive track that adds an ominous ambiguity to what came before: the trees referenced in the name Gyselinck chose for the project and some of the track titles have gone: is a post-scarcity future also necessarily a post-Earth one?