"Workaround Two" by Beatrice Dillon
[This] album confirms Dillon as the most thrilling new voice in British electronic music today. Workaround moves with the airborne grace of capoeira fighters, every track rattling along at 150bpm – the tempo between techno and jungle. It somehow connects the pointillist precision of electronic producers such as Mark Fell and Errorsmith with the disorienting bass-scapes of dub masters Scientist and Lee Perry, reflecting Dillon’s wide interests.
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Dillon found herself drawn into an experiment with “gated” computer sounds – where reverb or echo is restricted rather than allowed to ring out, leading to a clipped, dry sound. “It’s kind of the opposite of reverb,” she explains. “People sometimes use reverb in a lazy way, just to fill the space and impose an atmosphere that is emotionally leading you somewhere – woozy or dreamy or dread-y. So I was like: I’m going to not do that. Then you’re grappling with space and how to keep something interesting with this sense of emptiness. What happens if you take the guts out of the track?”
The resulting 14 tracks are the very opposite of gutless. “I’m a fan of ambitious records,” Dillon says. “Being a real music fanatic means that I’ve listened to some incredible things, and I know the standard is pretty high.” The striking thing about Workaround, given its long gestation and frighteningly complex innards, is its lightness and freedom; Dillon has an endless curiosity for what happens next. “So much of this is run on complete naivety. Cast the net, pull out loads of stuff and then just see where it takes you.”
📄 Chal Ravens/The Guardian
📷 Nadine Fraczkowski
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