This is the first album from Swedish artist and composer Marcus Wrangö as Wavemultiplier.
4040 is an album of multiform overtones that saturate and distort inside rhythmic assemblies, made with machines that breathe volts and eat cables: a futuristic and somber technological music for post-apocalyptic gatherings on the far side of the wastelands.
One of the main inspirations for 4040 came from the work with very clean recordings of sounds and music in electro-acoustic academia, where distortion and material artefacts often are treated as unwanted noise. 4040 is a contrast to this as saturated material is put to the forefront and hereby become Wavemultiplier’s distinguishing sonic feature.
The tracks started out as dirty and heavy techno but soon the four-on-the-floor rhythm gave way and other, subtler time-patterns emerged. Wrangö’s fascination with the raw sound of the sine wave – so important to him that he uses it in virtually every single piece of music he composes – is still present, but here in a different, distorted fashion.
The album is composed and produced with the help of a Swedish drum sampler and a Californian modular synthesizer system. It was composed and recorded in Blocc Studios in Stockholm, Sweden.
As debut albums go, Swedish producer Marcus Wrangö has created something that is way more worthy than that of a digital download. ‘4040’ would benefit more from being a physical release; and it’s disgraceful that no one has picked this up to do so.
Marcus’ stage moniker pretty much encapsulates everything that the project is about. Sparse techno and electronic saturation that is stripped bare, plays out with a simplicity that is both hypnotic and engaging from the off.
Subtle influxes of sound that are applied to each track are key in forming a cohesive glue and help keep momentum as the beats patter on in low-fi form. Both futuristic, yet nostalgic; Wavemultiplier, has an essence that toys with older forms of electronic music, cleansing the multiform overtones as they glide over a bed of rhythmic pulses.
In fairness, there is a great deal of repetition with ‘4040’. However, this is essential in making this album what it is. Where other albums with a similar structure fail, Wrangö keeps form and the journey is far from tedious. Here be the lesson in how keeping something simple sometimes is the best way to go. 9/10
Swedish producer Marcus Wrangö seems to have learned his lessons well from the professors of Raster-Noton. His debut as Wavemultiplier, 4040, is a collection of dry beats that sink into the multidimensional seabed like the imaginative geometries of Alva Noto and Frank Bretschneider. Wrangö positions himself precisely halfway between the dazzling fantasy of the former and the obsessive and static monochromatism of the latter. The tracklist on this debut album has seven tracks – forty minutes in total playing time – that develops by adding distortion upon distortion. The effect is physical and conceptual at the same time. TO FOLLOW. Roberto Mandolins
The recycle of any spillage or waste material is a praiseworthy activity at a time when environmentalism firmly has become the mark of a civilized society. The beeping sound that you can hear on the opening track “0527” – each title got named after their length and you can easily guess the total running time is approximately 40 minutes and 40 seconds… which is close to the sound of echo-cardiographer for the monitoring of vital parameters of deeply comatose patients, could let you imagine Swedish composer and artist Marcus Wrangö, the man behind Wavemultiplier’s curtains, as a professional in between a committed environmentalist and a necromancer. By his own admission, he mainly fed his debut release, which was entirely composed and recorded in Blocc Studios in Stockholm, by means of raw sounds and the inspiration for “4040” mainly came from “the work with very clean recordings of sounds and music in electro-acoustic academia, where distortion and material artefacts often are treated as unwanted noise”…and Marcus doesn’t disdain that material at all: he inoculates a sine wave and raw sounds into each track before processing them by cracks or refining infills. The final result is an enjoyable collection of seven tracks where he riddles rhythmic noise and abstract techno in a manner which can be easily appreciated by followers of labels like Kvitnu and Raster-Noton.
The first album from the Swedish electronic musician Marcus Wrangö as Wavemultiplier with the unassuming title 4040 is a kind of micro-acoustics, built with the help of a drum sampler and a modular syntheziser. Sounds and noises thrown away as trash from recording studios is Wrangö’s material, used for a crude and heavy techno where series of rhythmic patterns flow to form the finished musical product.
Silence and Sound
Saturation has become commonplace in the current musical productions, whether rock or electronic, experimental or mainstream. Some artists more than others have the ability to play with it in new ways and extract an intact, almost pure substance that sizzles deep in the eardrums, as a bristly sound designer. This is the case with 4040, the first album from Swedish Wavemuliplier alias Marcus Wrangö, where each track flirts with the essence of a distorted techno abstrakt, tinged with hypnotic electroacoustic roughness. The artist constructed the minimalist titles, whose constant variations are echoed from the bottom of carefully managed effects, at the frontiers of dark dancefloor and with a sharp intellect. The rhythms are like electrocardiograms and overflow each 4/4 and splutters on the dented mats like rubber-coated pebbles. Austere but never boring, 4040 slides on metal liquids in omnipresent sinusoidal curves, reminiscent of the early noise experiments from Pan Sonic or artists signed to Raster-Noton. Vital.
Put on the circuit on March 23rd via the well experimental and adventurous Clang imprint is “4040”, the new album by Swedish artist Marcus Wrangö released under his production alias Wavemultiplier. As one already was able to guess from a little teaser video that announced the release by serving some excellent 96 seconds of BrokenTechno, the album’s seven tracks focus exactly on this kind of sound – darkish, dry and defo – referring to the magic of technoid primetime dancefloors but with a more complex twist, stripped down, stumbling grooves and a feel of compression gone a little too far, causing frequency flutters and crackling, decaying textures uncommon for this kind of Techno music. Imagine the mesmerizing feel of Traversable Wormhole-productions amalgamated with the clean, overly compressed industrial aesthetics of Pan Sonic ca. 1999 / 2000 and you’ll know what “4040” is all about – pure late-night dancefloor devastation. Get.