Harmonic 313

Morrow vs. Hajduch

Morrow vs. Hajduch: Sahy Uhns’ An Intolerant Disdain of Underlings

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Sahy Uhns: An Intolerant Disdain of UnderlingsSahy Uhns: An Intolerant Disdain of Underlings (Proximal, 10/18/11)

Sahy Uhns: “Anticipation of the Night”

[audio:http://alarm-magazine.com/wp-content/uploads/2011/10/Sahy_Uhns_Anticipation_of_the_Night.mp3|titles=Sahy Uhns: “Anticipation of the Night”]

Morrow: Sahy Uhns (pronounced “science”) is the solo moniker of electronic/hip-hop producer Carl Madison Burgin, whose debut CD comes as part of a 5″ x 5″ book with photographs of the California deserts. The deserts are said to have inspired the album, but the glitchy, beat-ridden sounds therein are more the soundtrack for robots break-dancing than cactus needles rustling in the wind.

Though at times it simply resembles another detailed IDM album, An Intolerant Disdain of Underlings stands out with highly melodic phrasings and nuanced differences in timbre. It’s a beautiful, danceable sound collage that’s good for the car or the dance floor, falling somewhere between the styles of Warp recording artists (Chris) Clark and Harmonic 313.

Morrow vs. Hajduch

Morrow vs. Hajduch: Africa Hitech’s 93 Million Miles

Scott Morrow is ALARM’s music editor. Patrick Hajduch is a very important lawyer. Each week they debate the merits of a different album.

Africa Hitech: 93 Million MilesAfrica Hitech: 93 Million Miles (Warp, 5/10/11)

Africa Hitech: “Glangslap”

[audio:http://alarm-magazine.com/wp-content/uploads/2011/05/Africa_Hitech_Glangslap.mp3|titles=Africa Hitech: “Glangslap”]

Hajduch: Africa Hitech is an electronic duo comprised of jack-of-all-trades Mark Pritchard (Harmonic 33, Global Communication, Harmonic 313) and Steve Spacek. Following an EP last year, this debut LP on Warp is a lurching exploration of juke beats, swirling synthscapes, acid squelch, hip-hop menace, and the breakneck tempo of South African dance music.  Though initially it seems like an overwhelming listen, there’s a lot to pick apart, and plenty of hooks to latch onto even when the rhythms are hard to grasp.

Morrow: The rhythms strike me as intricate in a subtle way.  There are different layers doing different things, but like most of Pritchard’s other work, there’s plenty of minimalism, usually involving a basic dance beat.  These danceable polyrhythms are the real shared trait between 93 Million Miles and African music.  Outside of a few drum samples on tracks such as “Spirit,” the album otherwise is heavy on the Detroit techno sound of Pritchard’s Harmonic 313.