By Colin Gallant
Think of the sexiest slasher film you’ve seen. Now imagine that crossing paths with the most holistic sci-fi film ever made. Throw in a little dystopian pop flavour and you’ve got an approximate recipe for freaky Anticon artist Pictureplane’s new LP Technomancer.
From the opening “Sick Machine” to endpoint “Live Forever,” solo artist Travis Egedy explores ideals among the impossible by way of slowed down anthemic hooks, breathy gasps of passion and sexualized war drums. It’s like an orgy between John Carpenter, Daryl Hannah, DJ Screw and Robyn S. In other words, it’s a populist yet uncomfortably resonant take on an alternate present.
“Street Pressure,” like many of the record’s limited palette tracks, uses inhuman drum programming to contrast a warped take on Ibiza hooks as an extraterrestrial perspective on dance music history from new wave to contemporary EDM. One might accuse Egedy of making fun if he didn’t commit so fully to his imploring but frankly over-assured vocalizations.
It’s a mess—a particular brand of anxious chaos that perfectly suits the subject matter of the work. At its middle streak, Technomancer showcases Egedy’s knack for appreciating pop culture’s distractionism while standing a few left strides outside of it. Club sounds and guttural passion make up the sonic exterior, yet it never overshadows his buried, fervent whispers of alternate ways of being.
“Harsh Reality” oozes gender confusion as convincingly as “Self Control” advocates for a neologian approach to constructing one’s self by terms not yet defined by popular language.
Back to the sound of it: the record mostly cycles through ‘80s drum and synth sounds towards a future aesthetic that’s as nauseating as it is compelling.
It seems Egedy knows that consciousness has a ways to go and is using just the right amount of sound to mirror that. In mining the last futurist period to imagine a better tomorrow, he astutely measures the potential for self-actualization of the present.Pictureplane, Technomancer