Music / Sound Art - Tam Lin
Blown out and industrial or glistening with technological sheen, Tam Lin's electronic music is process driven: with vocal experiments, analog and digital synthesiser mangling, their work treads the line between organic and synthetic.
Mutant Tangle
A sister EP to 2021's Fever, Mutant Tangle brings elastic instrumentals, buzzing and popping across the stereo field.
Each track on Mutant Tangle stems from modular synth experiments, which Tam Lin has whittled into fizzy hooks and shifty rhythms.
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The result is an eclectic suite incorporating ambient, IDM, noise, and careful sound design. Chewed up drums, warm plucks, and whizzing synth lines all tie together into a single breathing coil of sound. It may be noisy in places, but ultimately this is an organic and lyrical record, evoking vibrant environments which are both mechanical and magical.
bluelightnospaceflattime
"Chat rooms, emojis, dreams (recalled and forgotten), words and water, water and gloss and fizz and fuzz, glitches and loneliness.
The smooth and not-so-smooth online spaces of despair and connection, and their reverberations or otherwise. This is the material Tam Lin has worked and reworked to produce bluelightnospaceflattime.
Lin's half-voiced desires and despairs float amid the flotsam of online exhortations, products, hooks and bundles. Amid irony and diversions, digital shrugs and lols. In the blur and overlaps of our many online selves, in the blue light of the screen, in our unrecalled and unrecounted dreams of these imaginary spaces, and selves."
Nearly
"Ambient music of a sort, but not the type that fades in and out. Instead, these narcotic loops, recorded on a park bench and processed in one take, are insistently present. Tam Lin draws inspiration from Tricky's 1996 side project 'Nearly God,' whose stupor-inducing loops are echoed in their track "stasis." Here, a short snippet loops for over seven minutes while subtle modulation draws out stabs of metallic colour. The result is intended to hold the listener in an addictive and unnerving stupor.
The second track, "almost there," is slightly more dynamic, with Tam Lin drawing out the resonances of another bench loop. The loop muddies and expand into a dark, smoky drone, eventually opening out into a warm resolution."