In just five years, the Norwegian producer André Bratten has established himself as a mercurial and uncompromising figure in modern-day electronics. Based in Oslo, the 31-year-old has, across a handful of releases, sketched out an enchanted vision of the world – a kind of psychedelic dystopia – as he seeks to fuel his lifelong obsession with sound. “I’ve always been fascinated by how a sound can make you feel, without being something you can touch,” he says. “I’ve always been more interested in sounds than music.” Bratten soon made a name for himself with a dextrous style of techno that seemed rooted in the avant-garde compositions of Giacinto Scelsi and the romantic pastorals of Boards of Canada. At the time, his live shows and DJ sets on the European club circuit added to his reputation as a serious performer with a dark, cavalier side. But this proved a distraction for Bratten and he chose to step away from the late nights and weekend flights in order to focus on his young family and studio work. Two years ago, Bratten moved from the centre of Oslo to the suburbs. This change of scenery had a positive effect on every aspect of his life. It took him a year to build his new studio in his garden, and then another year to patch all the hardware together again and relearn his music-making process. The first tracks to emerge from his suburban base surfaced last year on Smalltown Supersound as a series of three 12-inches. These are lush, driving funk cuts swaddled in curdled synthesis that find Bratten exploring a new way to conjure the spirit of the acts he loved in his early teens: Boards of Canada, Autechre, and the late Drexciya producer James Stinson’s The Other People Place and Transllusion projects. Three of the series’ softer tracks appear on his upcoming album ‘Pax Americana’ (the title track he recorded the day after Trump’s election victory) alongside three new numbers which add a shade of menace to the record.

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