মুক্তি (Mukti) Finds Own Space Between Noise & Techno On 'জগদ্ধাত্রী'

মুক্তি (Mukti) Finds Own Space Between Noise & Techno On 'জগদ্ধাত্রী'

17 October 2024

Within the context of the wider discography of Biswa Bangla Noise, the label platform championing the new crop of experimental artists from West Bengal, or the pops and clicks of the opening track 'গলা চামড়ার দেশে' that transform into walls of sub-layers, the 13-track 'জগদ্ধাত্রী' by মুক্তি (translating to 'Mukti') offers the expectation that it is a noise album. However, unlike the typical works in the style which adhere to abstract grounds of dissonant engulfing layers, the album by post-noise/club outfit periodically gives way to sparse passages of chiming melodies and recognisable rhythmic motifs in tandem with techno and its adjacent styles.

The 3rd track on the album 'সমাজপোকা' is the most clear-cut instance of how the album traverses between the stylistic grounds, jumping off from the typical drum patterns of minimal techno with the tom hits distorting and disintegrating into the auditory extremities of noise. Meanwhile, a similar track, owing to the common sound palette of 909 drums, 'জলপরী' wouldn't even give the impression it's from a larger work rooted in noise. The mutant piano notes of 'ch.২৯' and 'ch.৬৬' and their distorted beds even venture out beyond the two genres.

Successfully finding space between the two genres allows Mukti to combine the accessibility and energy of one with the emotional intensity of the other. It lets the entire album 'জগদ্ধাত্রী' find its unique place within the styles and feel fresh to its listeners.

Listen to the album below and follow Biswa Bangla Noise for more updates.

Artwork by Revant Dasgupta

Share

Join Our Mailing List

Subscribe