Demon City (Break World, 2016) collects collaboration with
producers such as
Tobias "Why Be" Lee (the sci-fi trip Irreducible Horizon),
Eric "Rabit" Burton (the superb whirling cacophony of After Woman and The Demon City),
(the hysterical African dance Dummy Track and especially the disintegrating cubistic fanfare
Children of Hell),
Felix "Lexxi" Lee of the "Endless Parties" fame (the symphonic skit Esposas 2013 and the jovial synth-pop ditty Red Eyez).
She collaborated with Kelela and Adrian Piper on Final Exam (2016).
Spots y Escupitajo (Vinyl Factory, 2017)
contains 14 songs, mostly microscopic ones but also the nine-minute, pensive,
piano-based fantasia Spittle.
The EP Elysia Crampton (Break World, 2018)
six brief instrumentals that sound like a condensed compendium of her major works: an
impressionistic vignette (Nativity),
an industrial nightmare (Solilunita),
a hypnotic dance (Oscollo),
a chaotic fanfare (Pachuyma),
a surrealistic clockwork (Orion Song),
a futuristic musichall skit (Moscow).
The generation that had not known Brian Eno was mesmerized.
The concept album Orcorara 2010 (2020), originally the soundtrack of an art installation,
toys with a number of techniques without settling into anyone in particular,
from the percussive feast of Spring of Wound
to the ambient tranquillity of Crest and to
the sinister glitchy drones of Abolition.
The eight-minute opener, Secret Ravine, is in fact a manifesto of this
method, running the gamut from hellich electronics to Steve Reich-style piano minimalism with all sorts of detours, including a cute vibrato guitar riff.
Unfortunately too much of the album is taken up by spoken-word sections (mostly poetry reading),
notably the endless 15-minute Morning Star-Red Glare-Sequoia Bridge.
This album also marks her venture into semi-classical music:
if Homeless is a rather amateurish piano sonata,
a female singer intones the prayer-like chamber lied Crucifixion,
a much more poignant piece.
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