Oni Ayhun

“Oar 004”

OAR004 scanZoom inLabelOni Ayhun
Cat. No.OAR004
Orders fromWed, 17 Feb 2010
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This music works by releasing carbon dioxide gas into a batter through an acid-base reaction, causing bubbles in the wet mixture to expand and thus leavening the mixture. It is used where the batter lacks the elastic structure to hold gas bubbles for more than a few minutes. Because carbon dioxide is released at a faster rate through the acid-base reaction than through fermentation, music made by chemical leavening is called ‘quick compositions’. The tracks are made up of an alkaline component, one or more acid salts, and an inert starch (cornstarch in most cases, though potato starch is also used). Sequenced feedback is the source of the carbon dioxide, and the acid-base reaction is more accurately described as an acid-activated decomposition, which can be generically represented as; NaHCO3 + H+ ? Na+ + CO2 + H2O. Acid in music can be either fast-acting or slow-acting. A fast-acting acid reacts in a wet mixture with baking soda at room temperature, and a slow-acting acid will not react until heated in an oven. This music, that contains both fast- and slow-acting acids is double acting. By providing a second rise in the oven, double-acting music increase the reliability of baked goods by rendering the time elapsed between mixing and baking less critical. Common low-temperature acid salts include cream of tartar and monocalcium phosphate. High-temperature acid salts include sodium aluminum sulfate, sodium aluminum phosphate, and sodium acid pyrophosphate. This includes both.

OAR004 in the media

littlewhiteearbuds - Chris M.: “With a kick drum as dense as lead and the flash of aluminum hi-hats, the A side takes just about every amelodic sound that could be described as “rough” and throws them all into its fizzing chemical brew. Buzzing feedback, objects being slammed against each other, electrical noise from cables being yanked out and many other noises appear throughout, all seeking to distract you from the groove but instead playing an integral role to the jacking monster Oni’s chemicals have produced. Flip the record over and we’re met with sounds that could be dogs or a particularly out of breath person combined with eerie ringing, glacially slow percussion and dark bass rubs. Although it’s not a killer peak-time cut like the A side, B matches its oddness and locks you into its paranoid, anxious movements. Those who like their records to play it safe will find plenty of those filling stores’ shelves. Me, I’m sticking with Oni the alchemist if only just to see what piece of gold will come out of his laboratory next.”

Resident Advisor - Todd L. Bur: “It's rare for me to get evangelical about a record, to genuinely wonder whether someone has heard something and why haven't you heard it oh-my-God-you-have-to-hear-it and tell me what you think and…you don't like it?...well, I can understand that, but you're wrong, you know? But that's exactly what Oni Ayhun's new 12-inch did to me when I got about 90 seconds into the first listen. It's at that moment that a screech interrupts a perfectly normal—for Oni Ayhun, at least—groove. The beat continues unabated, as if nothing has happened, but I looked around my apartment when it happened. Had something fallen? And then there it was again. In time with the music. And then what sounded like trash cans being played like cymbals. And then unholy moaning, voices reaching up from the grave. And then, and then, and then. Each element more improbable in a techno setting than the last. The B-side to OAR004 isn't nearly as phenomenal, but it isn't every day that you have to compare something to a credible mix of power noise and dance floor techno. Instead, Ayhun takes things in a more abstract direction, eschewing the hand-hold of a conventional rhythm for long stretches. As Ayhun's show last weekend at Berlin's Panorama Bar proved, he has no problem operating in the dance floor realm—provided he's allowed to dress up in an all-white Renaissance era outfit, paint his face and bald head a similar color and play what looked like a modified bass clarinet for sampling purposes. (You had to be there.) But he also feels just as at home pulling off long, moody pieces of noisy improvisation around a somewhat steady beat for the chin-strokers as well. Right now, he's among the most interesting in the world at both.”

Ryan Keeling RA: “Techno angst. The A-side in particular is wonderfully unsettling and beautifully poised all at the same time. ”

Stefan Goldmann (Macro): “This is it!”

Tama Sumo (Ostgut): “Very special record for very special moments. WONDERFUL!!!”

thefuturist.se: “Recommended! There’s this feeling that the Oni Ayhun label is sensible and fun – a combination that the person behind Oni Ayhun previous work was based on, but somehow became so much clearer with the four releases on OAR. The combination of the indulging rhythm patterns and the Sähkö-alike reduced aesthetic and sound, combined with the sonic advancements from the ‘001′ to this forth moment; Oni Ayhun creates a record that is truly unique. What’s most interesting about this release, is the fact that there’s so much thought behind it. Neglecting all forms of feedback and keeping things very personal is maybe required for an artist pushing this sound – what does strike as most promising is the wide artistic spectrum this release has marked, in regards to the three previous releases. Keeping things to a bare minimal level, as well as uncompromising progression within all elements, Oni shifts through the atmosphere in light speed – wondering what the hell is going on. There isn’t so much to tell about this release, other that it is very appreciated, as well as highly recommended.”

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