Djedjotronic – R.U.R


A1: Dr Rossum

A2: H+

A3: Cops

B1: Are Friends Electric feat Lokier

B2: Electric Body

B3: Chasing The Lights

C1: Take Me Down feat Douglas McCarthy

C2: Avatars Have No Organs feat Stelarc’s Prosthetic Head

C3: Cockring Robot

D1: Not A Toy

D2: R.U.R.

Format: 2LP & Digital

Release Date: September, 14th 2018

Cat#: BNR174

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Science fiction from the past is interesting territory to traverse, a sort of prophetic time travel spun together as the imagined future becomes a real present.  Techno has a long legacy of channeling the future through aural exploration. It’s always been a time traveling genre with a specific focus on the interface between man and machine- or perhaps the replacement of the former by the latter.  These cross-temporal experiments continue on Djedjotronic’s new LP “R.U.R.,” where cold machines are sequenced by a warm heartbeat, unless of course it’s the other way around.

Produced over the past year in a basement studio is South France, Djedjotronic pointedly chose an album format to allow for a true cataloguing of these experiments.  The album’s titles and samples (“Avatars Have No Organs” features the voice transhumanist performance artist Stellarc’s prosthetic head) are of futurism, technology fueled isolation, robotics, AI, simulation and cyborgs… themes that captured the prescient imagination of techno and electro’s founders and are even more relevant today.  There’s lots of nods to the great techno-futurist producers of the distant and recent past, from Cybotron to I.F. to The Hacker to sounds of the legendary Thursdays at Pulp in Paris when Ivan Smagghe helmed the decks. In the album’s most aggressive, dancefloor focused moment, Nitzer Ebb’s Douglas McCarthy lends vocals for an industrial-arpeggiated monster of a track.

Much of the album, however, explores lower BPMs- no good story stays the same pace the whole time.  From the ambient opening of “Dr. Rossum,” to the OG electro styling of “H+,” to the aptly jacking “Cockring Robot,” the album serves as a haunting time traveling trip temporally and through genres.  It rightfully ends with the titular track “R.U.R.,” Djedjotronic’s own vision of the future.  There’s something vaguely human about the pumping lead- a crushed violin?- and paradoxically both a claustrophobic and cavernous quality to the production. “R.U.R.” feels like a battle, and for good reason.  The past’s own prophecies of technology ursurping humanity are all but coming true, and this album is Djedjotronic’s call to arms.

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