Burn, ba­by, burn!

Born in Fla­mez is bla­zing th­rough the sce­ne with her/his re­cent EP and a slot at the CTM Fes­ti­val

Siegessaeule - - An English Roundup -

> Ber­lin-ba­sed ar­tist Born in Fla­mez first ap­peared last Ju­ne with a cont­ri­bu­ti­on to the Mon­key­town Re­cor­ds com­pi­la­ti­on Mo­de­se­lek­ti­onVol.3. In Ju­ly, s/he DJed at the pain­f­ul­ly hip Boi­ler Room and de­bu­t­ed her/his live per­for­mance head­lining the queer party Hot To­pic at SchwuZ. Not a bad start for a new­co­mer. Then again, the of­fi­ci­al press re­lease de­scri­bes Born in Fla­mez as “a self wi­thout bi­na­ry soul, post-phy­si­ca­li­ty re­born as heat and sound” – so may­be the­re are past li­ves be­hind this pro­ject. In­de­ed, her/his re­cent EP be­ars the tit­le Po­ly­mor­phous, which me­ans pas­sing th­rough va­rious forms. In li­ne with this, the EP was re­leased in a ra­ther un­or­tho­dox for­mat: a li­mi­ted-edi­ti­on, en­gra­ved glass py­ra­mid with a down­load co­de. (You can al­so down­load just the au­dio fi­les, of cour­se.) “The et­ched glass is so­mehow trau­ma­ti­zed and sto­ne cold at the sa­me ti­me,” the ar­tist told SIEGESSÄULE. “This dua­li­ty sym­bo­li­zes the di­gi­tal and the hu­man aspects of Born in Fla­mez, or if you think it as a onen­ess – which I pre­fer – the post­hu­man po­si­ti­on and the multi­tu­de of pos­si­ble iden­ti­ties are re­flec­ted in the pris­ma­tic po­wers of the ob­ject its­elf.“In ot­her words, it’s a high-con­cept pa­per­weight. Po­ly­mor­phous was re­leased by UnReaL Au­dio, a new la­bel for­med by th­ree ex­pats in­clu­ding To­mas Hem­stad, one of the pro­mo­ters be­hind the Ge­gen party at KitKa­tClub. The EP’s four tracks find a ba­lan­ce bet­ween ten­si­on and se­re­ni­ty, with smol­de­ring synths and rhyth­mic de­bris con­tras­ted by gos­sa­mer vo­cals. You could call it dys­to­pi­an new age mu­sic. And alt­hough Born in Fla­mez cer­tain­ly pre­fers soft­ware over a six-string, s/he de­fi­ni­te­ly has an axe to gr­ind. The na­mesa­ke is pres­u­m­a­b­ly the 1983 sci-fi film Born­in­Fla­mes, which de­pic­ted fe­mi­nist groups using pi­ra­te ra­dio to mo­bi­li­ze against the se­xism and ra­cism they face. Song tit­les li­ke “The Co­m­ing In­sur­rec­tion” bols­ter this de­fi­ant at­ti­tu­de. Two ye­ars ago, the CTM Fes­ti­val caught so­me flak for their bla­tant bi­as in boo­king ma­le ar­tists over fe­ma­les. The po­int is fi­nal­ly sin­king in, and things are star­ting to look mo­re ba­lan­ced: This ye­ar's edi­ti­on fea­tu­res the li­kes of Ly­dia Ains­worth, Nan Gol­din and Electric In­di­go, and the re­cent ad­di­ti­on of Born in Fla­mez to the lin­eup con­fu­ses the gen­der equa­ti­on even fur­ther. S/he will join U.S. duo 18+ and Swe­dish rap pos­se Yung Le­an & Sad Boys at Yaam on Ja­nu­a­ry 31. “The­re will be mo­re and new in­stru­ments in­vol­ved, and a new look as well. I will ha­ve one or two gu­est mu­si­ci­ans join me ons­ta­ge,” s/he ex­plains of the evol­ving live show. “But still no py­ro­tech­nics.” < jh

CTM Fes­ti­val Jan. 14 – Feb. 1, va­rious ve­nues Born in Fla­mez 18+ Yung Le­an & Sad Boys Jan. 31, 23:00, Yaam

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