ANMA | Batch 0012
ANMA (Andreas Mangweth) is no stranger to our pages. His sound, as adapted for the SM-LL Batch series is minimal electronics with slight wave bending. It stretches time, to an extent. As Harm Osc 5 opens the pitter-patter of digital ‘rain’ creates a micro-beat that’s refreshing. It’s as if you are listening to one of those early Raster-Noton records, slowed way down.
The past decade has had fewer and farther between in terms of these types of works, those that rely partly on spaced electronics and the creative imagination to fill in the gaps – but Mangweth does so with a reliable and delicate hand. It’s a very futuristic sound, with singular bleep tones and low atmosphere, and never suffers from any threat of being retro – though it is a decidedly machine-driven sound. There is a contemplative element to listening to this record, mainly due to pacing and the punctuation of notes.
On Batch 0012 it would seem that ANMA is going for this reductionist style, especially on a piece like Harm Osc 7 where you may (or may not) be listening to a spool of digital tape processing, at close range, tumbling through the mechanism, physically rolling forward. There is a slight feel of degradation, and possibly the rise of a heat source here. The drone hum is the base, and the bass. This ‘feeling’ is only more emphasized on the following, Batch Osc 8.
Instead of minimal techno perhaps this could be referred to as diverted techno as it becomes rapt in its physical stasis moreso than its penchant to be funky, though it teases as much. I’m imagining remixes. But also know that they are not at all necessary as this moves into glazed-over palpitations strewn throughout Harm Osc 10, likely one of the stronger tracks here, which summarizes the austere tendencies of this record as a whole.