Label
Cam Deas x Jung An Tagen
Presentism
Diagonal
/
2021
LP (ltd.)
26.99
Diagonal 059 LP
Vinyl edition of 220 copies inside stickered black polythene bag
Incl. VAT plus shipping / Orders from outside the EU are exempt from VAT
Tracklist
1That (nGridC) 4:37
2That (yGridA) 4:57
3That (yGridC#) 4:42
4That (nGridG) 4:59
5That (yGridD#) 5:05
6That (yGridD) 4:55
7That (yGridF) 5:01
8That (yGridD#) (Second Woman Remix)4:50

Cam Deas and Jung An Tagen twist the time/space axes with corkscrewing, unpredictable, avant garage-techno disruptions in a thrilling debut for Diagonal

Colliding the experimental energy of Cam Deas’ “time exercises” with Jung An Tagen’s computerised techno, ‘Presentism’ opens new wormholes of pursuit for two leading exponents of avant electronics. Its eight tracks form a probing study into techno dialectics between states of past, present, and future, and between the approaches of notation, improvisation, and recording. It’s essentially intent on unravelling techno’s fixation with grids and loops, or an “eternal present”, in with disrupting the way we experience time itself. In the context of radical dancefloor music, they move in the footsteps of Mark Fell, Gábor Lázár, or Russell Haswell, to render rudely rhythm-driven results forever in anticipation of elusive kicks.

In aesthetic, the styles of ‘Presentism’ are recognisable from both artists respective oeuvre for the likes of The Death of Rave and Editions Mego - from the stripped whorls of ‘Time Exercises’ to JAT’s wriggling organism on ‘Proxy States’ - yet the rhythmic complexity and urgency is specific to their first collaboration. Effectively each cut sets them in hot pursuit of an unknown variable; the kick drum. Generated in skittish, aleatoric patterns, they follow the ball in bewildering permutations of asymmetric funk, encouraging minds and bodies to calculate and intuit their own place in spacetime by means of proprioception.

Although ostensibly chaotic, there’s pure thrillis folllowing the fluidity of their logic between the shearing vortices of ’That (nGridC)’, the metaplasmic head-plong of ‘That(yGridA)’, and the more sensuous space explored in ‘That (yGridF)’, with Second Woman’s remix of ‘That (yGridD#)’ lending extra subtle and supple kerning certain to snag forward-thinking, or should we say, present-thinking, listeners and lovers of upfront, experimental electronics and club music.