Experimental political pop artist Mary Ocher returns to European stages with an exceptional new record: “Approaching Singularity: Music for The End of Time”.
The album is accompanied by an essay that explores authoritarianism, unruly technology, and the diverse political and ethical implications of the impending changes for humankind. While the new recordings were made with Tunng/LUMP’s Mike Lindsay and feature collaborations with Barry Burns (Mogwai), Red Axes, composer Roberto Cacciapaglia, pieces with Mary’s two drummers Your Government, and a homage to electronic music pioneer Delia Derbyshire
Over the past decade and a half Mary has been persistently creating passionate, uncompromising work, raw, thought provoking, socially and creatively pushing against the current, dealing with subjects of authority, identity and conflict. Her work is as enchanting as it is polarizing, ranging from traditional folk to raw 60s garage, ambient with ethereal vocals and abstract synths, to experimental pop with African and South American rhythms when performing with her drummers (Your Government).
Mary toured in 40 countries with previous releases, the last of which were recorded with H.J. Irmler of Krautrock pioneers Faust and feature collaborations with Felix Kubin, Die Tödliche Doris and Julia Kent. Most recently she was invited by Animal Collective to perform at Le Guess Who? festival, released a Ukraine charity EP and curated a compilation for girls’ education in Afghanistan.
*The full “Approaching Singularity” essay (a short version of which is available in print with the album):
Straying away from a folklore dominated by the binary kicks of contemporary Oriental electro, Keyvane Alinaghi becomes Hassan K. and transcends the fluctuant borders of Persian music. As much a fiddler as an adamant defender of a free and open-source
culture, polymath DIY artist…
Hassan K. crafts his tools, bends or upgrades traditional eastern instruments (electric setar, sensors, robotized santoor) in order not to indefinitely linger within virtuality and to lead spectators towards a trance-like, intensively energetic live.
Gonzaï: “The ultra-favorite for the weirdest concert title has everything to be attributed to Hassan K whose album is equivalent to eating at the same time : traditional Iranian music, an emulator of Nintendo 64 or surf garage straight out of the 60′. It’s a whole world.”
Through an explorative approach to songwriting Rosie emits joy for the experimental. Her crystalline vocals meander between dark, forceful beats and fragile melodic contours. The sporadic movements of her synth-heavy sound anchored only by the use of striking, minimal structures
Steckdose supply improvised electronics, tapeloops, drones and field recordings. From Teesside via Birmingham”