Emptyset

The authors of the mix are Paul Purgas and James Ginzburg, an electronic music duo of Bristol natives widely known as Emptyset. Since 2005 when project was established, Emptyset has released numerous critically acclaimed records on labels such as Raster-Noton, CLR, as well as their own Subtext (run by Ginzburg, Roly Porter and Paul Jebanasam). Their innovative analog production is very conceptual, liberal, and technical. By exploring the depths of bass, architectural rhythmics, repetitive minimalistic glitch and noises, Emptyset create absolute sound art that thrills and inspires even die-hard music critics. It is a one-of-a-kind collision of techno, noise and other experimental influences. Emptyset recordings are always accompanied by solid abstract visual art. This unique graphic expression and transcendent motion is reflected in the music and strengthens their identity as shapers of sound. Emptyset actively tour the globe and have presented live performances at such notable festivals and venues as Sonic Acts XIV, Mutek, Unsound, Berghain, Boiler Room, Sounding Space and many others.

In the records

STM 063 is a meticulously crafted dynamic musical selection that amazes with its refined diversity and quality. It connects 25 records released between 1990 and 2013 on such conceptual-minded labels as Raster-Noton, Modern Love, Stroboscopic Artefacts and Pan. Works by Alva Noto, Mika Vainio, Ilpo Väisänen, Andy Stott, Ugandan Methods and other talents form a progressively shifting complex soundscape. The compilation also includes the authors’ own works, showing their sonic flexibility and individuality. A large part of the selection is arranged using recently released material and a few classic tracks like I9 by Jeff Mills or Red Light Down by Vainio, Väisänen and Alan Vega. It is interesting to hear Arss, a new piece by Roll The Dice and Fever Ray producer Peder Mannerfelt which was released on Paul Purgas’ imprint, We Can Elude Control. The development of ideas and emotion is excellent. Cinematic ambiance gradually transforms into earnestly-constructed rhythmics. There is a rich narrative with all its thrilling convulsions. The mixing is accurate, smooth and mellow. By connecting two or three tracks at one time Emptyset achieve interesting new formations. The basis of the mix stands on the strikingly low bass, a diverse rhythmic matrix and the incredible effect modulations of each work. The truth is that Emptyset intuitively knows how to intrigue, maintain attention and impress.

Emptyset’s mix is like Francis Picabia’s mathematical abstract art painting Junelle, where odd geometric figures create a hauntingly puzzling image. Sharp lines, delicate colour tones and the whole schematic background reflects intelligence, progress and the imagination of an inquisitive observer.