With a pseudonym that evokes at once computer-based
music (quantization) and the female gender (Mademoiselle),
Chicago’s premiere lady of electronic Liz McLean-Knight
presents a sumptuous, often intriguing and slightly
paranoid soundtrack to city life, with elements of acoustic
instrumentation, found sounds and discreet vocal inputs
atomised, digested and regurgitated into an impressive
first album.
During her high school years in Chicago, Liz McLean-Knight
was introduced to underground electronic music and warehouse
raves, but it was while studying at the California Institute
Of The Arts that she made the decision to concentrate
on her music. Back in Chicago, she spent a year learning
the ins and outs of computer-based music before releasing
her first CDRs. A true workaholic, Liz McLean-Knight’s
musical work is the most visible part of a much wider
picture. Founder and editor of Modsquare, an on-line
resource for experimental music, founder of Subvariant
Recordings, graphic designer, fashion creator and so
on, there seem to be very few hours in a day for Ms
Quantazelle to actually chill out. Beside having recorded
a handful of EPs, she has also performed live with the
likes of new electronica sensation Jimmy Edgar as well
as Merck’s Proem,
Proswell and Machinedrum
to name but a few.
Although Coaster comes in a traditional jewel
CD case, an optional plastic Coaster Case and sticker
are available. The music is exquisitely complex and
abstract, with elements of electronic and acoustic instrumentation
constantly set on a collision course with found sounds
and sharp pseudo industrial beat structures. Amazingly
at ease with chaotic sonic landscapes, Quantazelle crafts
subtle little melodies out of debris of techno and electro
while also providing some interesting atmospheric variations.
The album opens with the short but superbly effective
Braking (Hushed). Built around a sharp hip-hop-influenced
rhythmic structure reminiscent of Autechre
circa Tri Repetae, Liz layers sounds to develop
a mind-bursting melodic pattern. Swiftly moving on to
the luxuriant and upbeat It’s Fizzbang,
she unequivocally asserts her sonic territory, injecting
some more sharp-edged cuts further along with Belmont
Killa, Sunken Projectile or Stereofoam.
Yet, Quantazelle also knows how to manipulate more delicate
and volatile sound combinations. Whether through the
light melodic circumvolutions of a harp on Late
Blazing Kinch Theme, the aquatic acrobatics of
Pansy Beatmatch or Vanity Knobs With Groove
Grimace, Liz McLean-Knight manages to develop fully
functional organic structures in a few minutes without
using tired gimmicks or empty stylistic effects. Even
the hidden track, found approximately ten minutes after
the end of Stereofoam, is delightfully quirky.
If electronica sometimes appear to stagnate, Coaster
certainly displays enough fresh ideas and impressive
moments to shake up even the avant-garde. Never losing
the focus on the music as she often ventures into abstract
territories, Liz McLean-Knight avoids the pitfalls of
contemporary music and manages to remain truly accessible,
while at the same time challenging. This first Quantazelle
album is superbly unique and creative, yet captivating
and engaging.
4.7/5 |
