The year is 2051. The human race has split into two groups. One maintained their basic human state, while the other transformed by tapping into their psychospiritual lifeforce potential. The second group created a higher dimensional civilization. They called it Xymeria.
Techno mystic Xosar witha self-releasing 11-track album on Bandcamp. Holographic Matrix is filled with some of the murkiest and most sinister tracks of her career.
The Dutch Pinkman label is back with a new EP from Xosar, who debuts on the label and covers release number 10, with two new cuts of mystic techno. World Of Illusion goes first and marries reverb rich claps and cacophonous hi hats with a tough bassline. Spritelyand nimble and with thumping kicks down below, various bleeps, serene string sounds and glassy melodies colourthe groove and make for engaging listening. On the flip, Phasers of Eden is a kinetic fusion of ticking percussion,molten synths and withering chords that works you into an ethereal and otherworldly trance. Still with some allimportant drum funk powering things along down below, this is another idiosyncratic winner from Xosar.
Synthesizer and drum machine obsessive Xosar (AKA producer Sheela Rahman) has enjoyed a productive few years, building a formidable reputation via releases on Rush Hour, L.I.E.S and Creme Organization. Here she delivers her first full-length for Opal Tapes’ occasional vinyl offshoot, Black Opal. It’s perhaps a little less colourful and synthesizer-heavy than previous excursions, instead focusing on dark, fuzzy, heavily percussive takes on acid house and techno. Of course, there are curious interludes – see the wonky industrial IDM of “Prophylaxis” and the beatless synth madness of “Gnome Circle” – but it’s the more floor-friendly excursions (and most profoundly the bleak and intense “Hades Gates”) that really stand out.
Xosar’s new release for Valcrond Video marks the onset of a darker, more dungeons & dragons oriented point of view. The four tracks feature both propulsive, doom-laden beats and expansive drum-free dream spaces. These sounds, appropriate for perved-out DJs and depressed teens alike, trace a narrative of pursuit, captivity, and erotic exsanguination. Held in a stone tower, a prisoner’s fluids are harvested for carnal application, before he is finally allowed to drain and find release in euphoric fields: bare dead trees, empty veins.