013
Victoria Keddie
Cannibal Mécanique
7” lathe cut record (square)
Edition of 25 copies (1st)
Edition of 50 copies (2nd)
2017
An electronic soundtrack by NY based audio-visual artist, Victoria Keddie. Originally composed as part of an immersive live experience incorporating analog video feedback and choreography, for ICM013, the audio component of Cannibal Mécanique has been revised and revisited in two movements.
PRESS
(1)
Keddie’s a-side sees dusty overdrive resonances tremoloing alongside contorted dial-tones, while the b-side feels like a much subdued, basement-dwelling relative. Grainy beaters and stalled-engine sound design make for a brooding, hypnotic listen, developing slowly to a malfunctioned close. In its lathe cut form at least, Cannibal Mécanique calls to mind Francis Ford Coppola’s wire-tap thriller, The Conversation for me. Not least for the static-laced, in-and-out-of-focus feel it maintains, but also for the fact both sides build to disconcerting climaxes, leaving the listener unnerved and disoriented. (Theo Darton-Moore, Stray Landings)
Victoria Keddie
Cannibal Mécanique
7” lathe cut record (square)
Edition of 25 copies (1st)
Edition of 50 copies (2nd)
2017
An electronic soundtrack by NY based audio-visual artist, Victoria Keddie. Originally composed as part of an immersive live experience incorporating analog video feedback and choreography, for ICM013, the audio component of Cannibal Mécanique has been revised and revisited in two movements.
PRESS
(1)
Keddie’s a-side sees dusty overdrive resonances tremoloing alongside contorted dial-tones, while the b-side feels like a much subdued, basement-dwelling relative. Grainy beaters and stalled-engine sound design make for a brooding, hypnotic listen, developing slowly to a malfunctioned close. In its lathe cut form at least, Cannibal Mécanique calls to mind Francis Ford Coppola’s wire-tap thriller, The Conversation for me. Not least for the static-laced, in-and-out-of-focus feel it maintains, but also for the fact both sides build to disconcerting climaxes, leaving the listener unnerved and disoriented. (Theo Darton-Moore, Stray Landings)