Underneath the experimental and unpredictable music she produces, Beatrice Dillon is a Zen-like figure. “I can’t really work with a lot of pressure going on,” she explains. “I think it’s good to be in a relaxed, fairly happy state of mind to be creative.”
From this calm demeanour emerges unclassifiable material at the outer reaches of electronic music, channelling influences from sources spanning the percussive rhythms of Tony Allen to the warped experimentalism of Autechre. Whether she’s recording music with decommissioned weapons of war for the artist Pedro Reyes or performing semi-improvised shows with Kassem Mosse, her output is liable to spiral out on strange tangents at any moment.
When Mixmag gets overly analytical about her sound, she laughs: “Not everything is so thought-about, you know.” Renowned Berlin store Hardwax played her latest album ‘Two Changes’, a collaboration with drummer Rupert Clervaux, at the wrong speed of 45 RPM without noticing a problem – proof that her releases are so cutting-edge they can still evolve once set in wax.
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