[Innervisions]

In the space of seven years or so Kristian Beyer and Frank Wiedemann have become an indispensable part of electronic music. The pair, along with Dixon and Henrik Schwarz, embody more than just the memorable tracks that stay with you after a night out; their music is the result of artistic divination, of applying ideas and themes through everything they do, of using their chosen media to explore the realms of the artist.
The Rrose Sélavy EP, their first solo release of 2010, references the work of Marcel Duchamp in its title (which was one of the artist’s pseudonyms) and in the playful manner that Âme toy with evolving melodies and reappearing ideas that is very much in line with Duchamp’s playful approach to his art.

Âme start in deep house mode on “Rrose Sélavy,” weaving spine tingling textures and repetitive melodies that dip in and out of the track as it progresses. Their attention to detail is, as ever, meticulous, with each sound clearly defined from the others. Whispered fragments of speech pepper the track, while eerie, high pitched sounds play against the deep, bottomed out bass and groove. “Junggesellenmaschine,” which translates to bachelor machine, was another of Duchamp’s concepts that explored the idea of a machine that was mechanical and sexual, male and female. Âme’s interpretation of this idea is played out with mechanical whirs, circuits straining and breaking, fuses burning out and a great warmth from an all encompassing bass line. Listen closer and there are clearly parts that can be distinguished as male and female; soothing melodic tinkles and more masculine, beaten drums. In exploring conceptual ideas of one of the great artists of the twentieth century, Âme make some valid musical input, though this is just one level on which the Rrose Sélavy EP works; it’s also another two sides of dance floor bliss from two of the most engaging producers in the game.