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With White Raven, Pheek continues his explorations into electronic spaces both cavernous and microscopic. Composed of the flotsam and jetsam of synthesizers stored underground in a secret cave for techno spelunkers, White Raven is an exploration into spaced-out sound that is as alien as it is mental. Minimalist rhythms of microsonic particulates appear and disappear in silence and echo; synthesizers hum and disintegrate; dissipations of static agglomerate themselves into robotic assemblages; controlled bursts of feedback romp and resonate against sliding musical scales. Once again, Pheek defies current crazes. Though working with the methods of modular synthesis, his sound cannot be classified alongside the retro-analog composition found in its adherents. Even as his work embraces the raw and improvised beauty of a machinic set-up, it plunges into territory that remains devoid of the usual referents, as if an artificial intelligence had taken hold, trying to communicate through the revival of ancient futurisms and lost secret technologies. The traditions that Pheek finds himself within are lustrious indeed — his work stands alongside the last remaining tapes of the BBC Radiophonic Workshop, as if they had been reworked by an interstellar force, invading the alien and Afrofuturist body of the Time Traveller, Jeff Mills. Sections of WR sound like outtakes from early Plus8 material: meaningful, emotive, and uncompromising in its spacious minimalism. Pheek suspends time and space into the void of rhythm, and as a result, transcends to the cusp of the sonic sublime.