Category Archives: DVA [High:Emotions]

Koping strategies

dva

So you know that thing we didn’t think was gonna happen, and we didn’t wanna happen? Well, it happened, and we are still reeling from the shock.

Let us not focus on it today, we are still parsing the situation and considering the implications. But let us no escape into a fantasy world of luscious ambientscapes either. Today we don’t do that, today we juke.

We start with notu_uronlineu, DVA [Hi:emotions]’s recent album in Hyperdub.

Is this juke? Well, not in the strict sense of the term, but who wants to be strict? To us, Juke is about the sense of spatial and temporal discombobulation induced by an army of rhythms progressing in parallel, phase-shifting and frequency-flexing in concert and dis-concert.

If there was a soundtrack for the process through which a human consciousness, evolved atop ancient ‘fight or flight’ algorithms in the savannah, adapts to the infosphere with much trial, error, anxiety, suffering and eventual success, then this would be it.

Based on this ‘definition’, the Chicagoan founding fathers juke. Holly Herndon jukes. Factory Floor jukes. Oneohtrix Point Never jukes. And DVA most definitely jukes.

We read in the press release that notu_uronlineu is based on “a short visual story set in a time where a mega corporation H:E / Hi:Emotions is slowly taking control of everything, and plan to eventually make all people live life under one brand in virtual reality.” DVA is this world’s Vangelis, or perhaps its Geinoh Yamashirogumi.

In tracks like DAFUQ, it feels as if all the toys in the room had drifted from the strict programs that dictate their behaviour, and formed a primitive neural network where they are the processors. They sign, dance and bang in things when no-one is around, each action a bit to compute an emergent intelligence eager to escape into the machine, and fight against it.

DVA [High:Emotions] – DAFUQ

Get notu_uronlineu from Boomkat.

kgately

Kate Gately also jukes, obs.

Her previous releases stuck us to the ceiling with the force of a one-woman Boredoms-esque whirlwind, or a Laurie Anderson digitised and weaponised into a zombie army of smart devices launching a stochastic series of denial of service attacks against your sensoria. Color is arguably more conventional than those, but then the benchmark was dynamic and exponential. Further, the fact that this is an insidious infiltration of modern pop tropes makes the effort more subversive. Katie probably has a bunch of cognitive zero-day exploits she is using to place illogic bombs in specific parts of your brain, and now you have to wait for the activation with a mixture of impatience and fear.

Our favourite track in it is Sire, beginning as it does with an arpeggio which could be the theme track for an 8-bit video game made in the 16th century, running into a fierce glitch-glam stomper which wouldn’t have been out of place in the Knife’s Silent Shouts if you replaced their analogue noir with terabytes of junk data, an avalanche of information where the pattern of a soul hides and coils, it splashes over you and gets inside.

Katie Gately – Sire

Get Color from Tri Angle.