The new ectoplasmic soul quasi-movement – of which Dean Blunt and Inga Copeland’s latest release in Hyperdub is an almost archetypical example – creates the soundtrack for that future the cyberpunk dreamers envisaged long ago, and which may yet come to pass as the machines leave us all physically stranded in a post-favela urban reticule, taking pot-shots at each other across the future-shell-shocked streets of the informal economy.
They do this by sounding – apologies – exotic, harkening to the East which overlays Bladerunner’s Angelino bustle, creole, rough like bootleg mixtapes hot off some fast-food joint backroom, delirious like uneasy nights stabbed by helicopter lights.
Also, unfinished, done on the run, recreating the Darwinian hustle of that future underground.
Brand retro, you are new.
With the synthesiser (computer), we created a new universe, new life which we haven’t yet recognised as such because it thrives in another dimension with its own laws of physics, it’s own tempo. There are, of course, exceptions to this ignorance, a few analogue ethnographers that venture into that new universe, and produce electrical cartographies of its wonders.
Suzanne Ciani, legendary composer, new age diva, artificial intelligence translator, is one of them. She also made music for commercials, perhaps most famously (in 20jazzfunkgreats’ pantheon) for Atari. Eight Wave is not billed as such in the track list for ‘Lixiviation’, the first output in her collaboration with Finders Keepers, but it actually is – an advert for Mentat School. Tune into the right reality, and you will see.