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2018-03-23
Hanz: Plasty II 12" EP

The key influences for Hanz' upcoming EPs lie outside music - "They are heavily influenced by film. Things like pacing, tension, comic relief, and climactic moments." "Plasty II," following last year's Plasty I, is the second of two recordings that form a kind of mirror shot of each other - you could say one is a frontal shot, while the other a back shot. Both EPs developed in sessions that started right before the re-issue of "Reducer" (on Tri Angle) in 2015."I was watching a lot of films and realized the ones I appreciated the most were shorter in length - films like "Tetsuo, The Iron Man". Over a year or so of working, I decided to trim compositions down and get to the point in underneath twenty minutes per EP. I named this work "Plasty" due to its constant structural changes, it’s as if the sound is being operated on surgically.”He adds - “I like tension and action. I edit my music like a movie, placing pieces of a song inside of other songs. Certain parts / melodies from part one reappear in part two and vice versa. That’s my way of making these EPs compliment each other by making them function like puzzles. The temporary moments on both EPs are for you to get better acquainted with this sonic environment. For example, the track "A Breathing House" is a short vignette on "Plasty I" that is based on the imagery of a house with breathing windows, doors, and floors." Cinematic influences are joined by inspirations from "the Surrealists" and the "cut-up" technique" (of William Burroughs & Brion Gysin). "Plasty" is the sound of an artist evolving and emerging through exploration, it's the sound of an artist breaking free.

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2018-01-19
Hanz: Plasty I

The key influences for Hanz’ upcoming EPs lie outside music - "They are heavily influenced by film. Things like pacing, tension, comic relief, and climactic moments." "Plasty I," his long-overdue new EP, is the first of two recordings that form a kind of mirror shot of each other - you could say one is a frontal shot, while the other a back shot. Both EPs developed in sessions that started right before the re-issue of "Reducer" (on Tri Angle) in 2015. "I was watching a lot of films and realized the ones I appreciated the most were shorter in length - films like "Tetsuo, The Iron Man". Over a year or so of working, I decided to trim compositions down and get to the point in underneath twenty minutes per EP. I named this work "Plasty" due to its constant structural changes, it’s as if the sound is being operated on surgically."He adds - "I like tension and action. I edit my music like a movie, placing pieces of a song inside of other songs. Certain parts / melodies from part one reappear in part two and vice versa. That’s my way of making these EPs compliment each other by making them function like puzzles. The temporary moments on both EPs are for you to get better acquainted with this sonic environment. For example, the track "A Breathing House" is a short vignette on "Plasty I" that is based on the imagery of a house with breathing windows, doors, and floors." Cinematic influences are joined by inspirations from "the Surrealists" and the "cut-up" technique" (of William Burroughs & Brion Gysin). "Plasty" is the sound of an artist evolving and emerging through exploration, it’s the sound of an artist breaking free."

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2016-02-05
Hanz: Reducer

Tri Angle is excited to announce the release of Reducer, the debut album from Hanz, a.k.a 25-year old producer and multi instrumentalist Brandon Juhans, on vinyl for the first time.

With a penchant for the cinematic, the Georgia-born, Durham, North Carolina-based producer cuts blasted, abstract beats on post-punk textures, resulting in a sound that somehow manages to echo RZA, Rammellzee, This Heat and PIL, whilst carving out a unique identity all of his own. At a time when most hip hop production sounds as if it's stuck in preset mode, Reducer feels like a vital injection of creativity, harking back to a time in the past when no sample and no sound was off limits.

Opening track, 'The History of...', a dizzying collage of broken drum machine beats, white noise shards and glitchy dub, is a good place to start in trying to epitomize the energy of the record. From there on Hanz continues to take the listener on a trip into a dark, complex headspace where haunted patois vocals, industrial drums,harps, elastic bass-lines and dystopian hip hop beats collide. It's his capability of collapsing one sound world into another almost seamlessly, whilst retaining a distinctly raw punk energy throughout that sets Hanz aside. It makes for an unpredictable and thrilling listen.

In Reducer Hanz has created something wildly ambitious which, doesn't sound like much else out there in 2015. The 'Reducer' LP will be produced in limited quantities.