artist info







no shows at the moment


"Who knows on which foot to dance to Aelters' music?"

Aelters, Frenchman and ex-member of Dat Politics, prevails once again. Essentially, his music seems to have remained unchanged since his last record "Ardchilds' com.undo", released on sonig in 2003. It "gently mutates", is how the artist described his previous album, a description which also mirrors his way of working. Aelters has definitely evolved, however, where his style is concerned. The rattling high speed break beats found on Ardchilds' com.undo have given way to hard disco-tech. The beats that Aelters uses to edge his ceaselessly mutating sound creations have become slower and heavier. And he is still sampling as if there were no tomorrow, using whatever he comes across as material: A wide range of speaking voices, Gameboys, Beatboxes, old synthesizers, noises of all kinds. His software seems to have a mind of its own and appears to be under the spell of a randomly acting groove generator. Aelters' music is dense, concrete, often fun and always unpredictable; a quality that seems innate in the French and which makes Aelters an absolute must, particularly for fans of Mr Oizo or Jackson and his Computerband.

The music pushes and shuffles, the loops get ever shorter and finally dissolve entirely into cut-up disco. Field recordings and other random soundbites whirl around, creating the impression as if the recording still contained all its background production noises. Many of the sounds such as fragments of conversation or children's voices obviously stem from the direct neighbourhood of the Frenchman, private moments that create a strangely charged blend with enervating concentric sounds. In many cases the music cannot be divided formally into "pieces" or "tracks". There we have a bit of rhythm as if it came straight out the plastic techno of the late eighties, only to drown almost immediately and splinter off into whirring sounds. Miniatures, sketches, contradictions, gourmet disco according to Mr Oizo presents its best side. Soundbites are cheerfully rewound and assigned a new rhythm, this time backwards. The harsh distortion that stems from break core is interwoven with wonderfully melodic fragments and guitar melody lines. Aelters may not tie himself down, but the party still rocks on.

Each track seems to reveal its creational process; out of apparently cacophonic sounds and synthesizer pirouettes emerge rhythm and structure, only to be subjected to an ironic groove makeover in the next instant. The many speaking voices behave like fragments of sound, as if tuning into a new radio station. But the beat perseveres and pulsates twisted and freakish through the track. And the question we ask ourselves again and again is, "Who knows on which foot to dance to Aelters' music?"