Exaland by SPIME.IM

ous019_front

SPIME.IM | Exaland
OUS (LP/DL)

SPIME.IM is a media art collective from Turin (Italy) known for their cutting edge audio-visual live performances and digital sound. Their debut album Exaland is composed by Gabriele Ottino and Davide Tomat and released on the new-coming label OUS.

At a first glance the album feels a bit stereotypical. The references to this new post-club aesthetics, dance music you are not supposed to dance to, constantly trespassing the realm of art music but contextually refusing it. Their music is something extremely strong, we wouldn’t and shouldn’t be surprised listening to one of the Club-to-Club events in Turin or Milan or at the next Boiler Room Italian showcase. Like it or not, that’s what is hip now.

Despite appearing like a direct offspring of the godfather of this movement, Lorenzo Senni, I can still find some elements of novelty here and there which ditch the (new but already strongly established) cliché, turning the whole listening experience into something quite refreshing. The end of Exaland XII, for instance, introduces a rather funny and nostalgic tendency towards some “extratone” experiments which were a real buzz.

In terms of production, the quality is unquestionable. Their skills at handling such crispy and crystal-like materials, the way these noises are polished and transparent, is absolutely delightful. Their tracks sound massive and do an outstanding impact on a big system.

Their most melodic excerpts – often reminding of the synth sequences that warez software would blast from my computer each time I tried to use a keygen to crack a videogame as a kid – connect us to a reality made in dark clubs and of strobe-lights, packed with people wearing clothes from Cyberdog. The imagery they build is of a new digital mythology that draws back from the early 90’s computer magazines, hackers overclocking their computers towards new levels of accelerations, a digital mayhem of pixel and datamosh. Still, despite being so strongly connected to this quite trite aesthetic idea they are riding in a parallel lane. There is no nostalgic retro-mania in their music and even if some pieces resemble more the structure of a “song” they deliberately restructure it, often with some quite interesting results.

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