Photography JULIA BURLINGHAM
“When I make music I feel like I need it to not just be some cool sounds that I’ve made,” James Whipple told FACT recently. The producer—better known as M.E.S.H., a key member of Berlin’s Janus collective—then proceeded to call his Piteous Gate album “a dumb little story… a dumb little one act play.”
He’s being modest. Judging by how detailed his first proper long player is, Whipple must have had a lot on his mind when he wrote Piteous Gate last winter. Here are a few clues, along with an exclusive stream of the entire record. Look out for its official release through PAN tomorrow.
This type of repeating ominous synth note has been used a lot in film trailers. I wanted to connect that with the full spectrum dominance of EDM festival music.
I was experimenting with recording “live” without editing notes afterward, while using soft synths with drifting parameters. Recording while conditions within the software were constantly changing allowed a feeling of spontaneity totally different from the usual habits that come about when writing on a computer (which can feel like editing a spreadsheet).
“THE BLACK PILL”
An omega male retires to his princely redoubt to reflect on his life.
“KRITIKAL & X”
Youths arguing out the window. Street scene.
A failed DJ tool, running two speeds at once. I wanted to capture the feeling of a hidden architecture of storm drains and archaic cisterns.
The artist entertaining his patrons.
Berlin’s spielotheks and all night snack bars were the inspiration for this track that almost gives me a migraine when I listen to it. Coated in nicotine residue.
Flood plains, sluice gates, alluvial flows coming down the steppe. Rusted infrastructure and hidden depots. Carrion birds picking through stealth equipment.