Words: James Frostick
Artist image: Sabina Rysnik
New noise emerges from the far reaches of Australia’s dance scene as Enderie releases a new collection of unsound electro thump. 3 – the new four-track EP out today via Anterograde – further charts Enderie’s trajectory from avant-rock destructor to hardware-manipulating club heretic. Exploratory and revelatory, 3 is a masterclass in deciphering how a mechanism works by taking it apart and playing with its core components.
Every scrap of insight into Andrew McLellan’s creative process I have gleaned over the years (solely from listening to his music) leads me to believe he is somewhat enamoured with the idea of recontextualising sound. As the guiding force behind surreal (and incredible) experimental audio concept Cured Pink, Andrew seemed to revel in amalgamating dissonant sonics (sometimes wrought via self-built instruments) into something different – a harmonious (if cacophonous) union between unbound impulse and structure. There was always a sense that Andrew was subtly trying to contest preconceived notions of what was music and what wasn’t, in turn tapping into a vein of experimental freedom that he’s since carried over into his current project – the left-field underground electronic entity known as Enderie. It wasn’t that long ago that we heard from Enderie – June last year he collaborated with Del Lumanta aka Call Compatible on the split cassette Valued Mutuals. Now, Enderie returns with a new solo EP (the third such collection, which follows on from two prior efforts released via Room40 and Paradise Daily, respectively) containing a fresh selection of idiosyncratic club unce, expanding his palette to incorporate a broader cross-section of sounds and styles.
Now, if there is a style guide or a rule sheet that is handed out when one starts crafting club electronica, I’m not sure that Enderie is interested in strictly adhering to it. That said, I don’t think he is necessarily out to break the framework of the genre, perhaps instead seeing what’s possible within it. He’s forcing the boundary outward ever so slightly by seeing if he can construct a functional and satisfactory mechanism while following different schematics – avoiding the familiar, ducking convention. The four tracks on 3 seem to be individual explorations into various sub-genres of electronic music – ‘Swing’, ‘Break’, ‘Bass’ and ‘Step’. Press material indicates that on 3 Enderie oscillates between big beat, Jersey Club, bass-line and breakbeats, but I’d also add dubstep into the mix. Like much of the underground electronica being crafted across the country, there’s subterranean vibe that casts these tracks in shadow – we can recognise the silhouettes of genre, but only until we get within striking distance do we see the considered detail. 3 kicks off with the pulsing synthetic jabber of ‘Swing’ before veering into the glitchy snap of ‘Break’. The spectral sonar at the beginning of ‘Bass’ elevates into a skittish and skeletal groove, while closer ‘Step’ brings warped plops, modulated vocal samples, squirts of steam and tinny percussive patter together to form an engaging whole.
There’s a tangible love for electronic dance music emanating from this recording that makes Endrie seem less an enfant terrible out to debase long-held practices, but rather bring his own unique creative outlook to the table and alter the dialogue surrounding club music. Overall I think Enderie’s just having a lot of fun here. He’s still as creatively unbound as before, now he’s just channelling energy into making people move. I think that’s about one of the best reactions one can hope to instigate with their work, so if that’s a barometer for success 3 can be considered a triumph. Listen here:
Enderie’s 3 is out today through Melbourne/Naarm-based experimental dance label Anterograde. Get your copy (available digitally or on a limited-edition USB) here.