Randomer is known far and wide for his hefty drums and hypnotic polyrhythms, and his new release coming out on Dekmantel Records certainly stays true to his colours. With an obvious appetite for all things sound design, this will be his second release on the imprint, following up his DKMNTL-UFO2 record Running Dry.
The past few years have seen him release on a plethora of legendary labels including Clone Records and L.I.E.S, and most recently his own collaborative imprint, Headstrong, which he launched last year with Clouds.
This release, entitled Slicing, allows him to continue his reign as the master of textural sculpting and rhythmic formation. As stated by the label, ‘Randomer showcases his innate ability to excite and surprise with dynamism, and cutting sounds, with a technique that has been well-honed throughout the years’.
Here, we speak with him about what tracks have influenced the forthcoming four-piece effort, taking a further look at where some of his key polyrhythmic and melodic techniques came from.
1. Ligeti – Atmospheres
Absolutely love Ligeti. While I was writing “Shadow’s Harp” I had been experimenting with something similar to Ligeti’s micropolyphony technique, using string parts which are glissandoing in different directions independently. It creates a unique type of moving tension which worked well with the rest of the track. I find a lot of inspiration for my music through modern classical music and messing around with music theory.
2. Bernard Herrmann – Vertigo Prelude
The main hook melody in “Shadow’s Harp” I wrote experimenting with a Minor-Major-seventh sound, which I found myself using a lot after becoming a big fan of Bernard Herrmann’s film music. He uses that type of harmony so much that it’s been referred to as the “Hitchcock Chord” (after his most famous collaborator). The music from Vertigo is some of my favourite ever written, and you can hear the famous minor-major-7th sound in the first notes of this piece.
3. Tessela – Rub
Me and Ed Tessela definitely bond over a love of all things drum and percussion. We were featured on the same 20 years of Blueprint compilation that this track comes from in 2016 – put together by James Ruskin. Anyway, I remember Ed sent over the master for this track and it found a regular spot in my DJ sets. It’s wonderfully simple and groovy. I found myself inspired in my hotel room the morning after playing the track out for the first time, and wrote “Slicing” very quickly while waiting for my ride to the airport.
4. Hsaing Waing, Kyaukpadaung – Myanmar
I love traditional music from around the world. I guess I’m just a massive music geek, like a lot of producers. Permenantly on a quest to find and create new sounds. I’ve always been fascinated by instruments which sound very different to what we are used to in the West. For “Van Pelt” I used a percussive instrument traditionally played in Myanmar, which I really loved the sound of to create the main hook. Instead of creating a melody in a traditional way with a sampler I used something called a frequency shifter to change the pitch in a unique way, and with reverb added it made what I thought was a really cool sound.
5. Newlands Mgido – Dominowe
I’ve always loved using vocal snippets and textures in my music, and the Gqom sound really caught my ear with the way they use vocals as textures that the percussion in the track interacts with. I used vocals in a similar way in “Dissolve”, and really enjoy mixing the these two tracks in the more tripped out parts of my DJ sets.
Slicing is out May 14 via DKMNTL UFO.
Preorder it here.
Next up: YouTube Sessions – Randomer