On the Bandcamp page for Heptaprism by Yetsuby, one of the most recent additions to the Extra Noir family, the mysterious South Korean producer is described as ‘reflecting Seoul’s nocturnal futurism’. It’s an apt description. There is a sort of futurism at work in Yetsuby’s tracks, but the future being hinted at is closer to that depicted in Neuromancer or Blade Runner than anything one might imagine from the vantage point of the 21st century. A kind of retro-cyberpunk atmosphere threads itself like DNA through all of the tracks on display here, whose rigid soundscapes and dusty pop hooks feel deeply indebted to the much-fetishized analogue synth music of that halcyon age of electronic music, the 1980s.
Heptaprism opens with ‘Sunrisemagic’, a laidback tune whose warm analogue chords and crooning vocals give it a distinctly New Age kind of vibe, like Boards of Canada being played at the back of an incense shop. The second track, a slow but summery slice of house entitled ‘Who Ate My Chocolate’ features African-inspired percussion, basketball kicks and massive, echo-drenched claps that put me in mind of some of John Talabot’s early material. The title of track three, ‘Ppuppuppappa’, could be an onomatopoeia for the high-pitched crystalline whistling that makes up the bulk of the track. Interlocking melodies, their tones reminiscent of early 90s home computing, play off and around one another, accented by the occasional burst of keyboard-clack percussion. It’s a fun little sonic exercise, but at over five minutes feels a little overlong for what it is; I felt like it overstayed its welcome very quickly, and on subsequent listens I found myself frequently skipping this track halfway through.
The following track, ‘Croquis 1’, features similar wistful, ethereal vocals to ‘sunrisemagic’, this time set over a staggering, glitchy mechanical rhythm, creating an interesting contrast between the organic and inorganic elements of the track. Further atmosphere is furnished by smatterings of street sounds and delirious, half-buried fragments of forgotten melody. This to my mind is one of the most interesting and arresting pieces of music on the album – my only complaint, this time, being that’s a bit too short; I would have liked for Yetsuby to maybe draw it out a little, give some of its captivating detail more time to glow.
On track five, ‘Sea Frog’, Yetsuby combines a fuzzed-out oldschool drum machine kick with a simple two note bassline and melodic streams of bleeps and blips in a way that feels pulled from the soundtrack of a long-lost straight to video 80s action movie. That vintage feel continues into the next tune, ‘Wiretap In My Ear’, whose central feature is a rubbery, groovy bass guitar riff. The title of the closing track, ‘Sunsetmagic’, seems intended to act as a companion to opener ‘Sunrisemagic’, but the names are really the only point of comparison. Where ‘Sunrisemagic’ is starry-eyed and serene, ‘Sunsetmagic’ is far more boisterous: big, booming gated drums lay down a rhythmic foundation, while snatches of human voices, sanded down and shaped into microscopic bursts of noise, provide the lead melody.
Final thoughts: while I really enjoyed Heptaprism, I do think it could have done with some more ruthless editing, and would probably have worked better as an EP than an album. Several tracks on here are very strong – most notably ‘Who Ate My Chocolate?’ and ‘Croquis 1’ – but others feel more like personal sketches or experiments than fully realised pieces of music in their own right, and may have been better off left on the cutting room floor. That being said, however, it’s clear that Yetsuby is both technically gifted and creatively innovative as a producer, and this album has definitely made me curious to hear what she comes up with next.
Heptaprism is available for purchase over at Extra Noir’s Bandcamp.