Bom-bom-bom-bom-bom-bom-Perc-bom-bom-has-bom-bom-bom-bom-a-bom-bom bom-new ep-bom-bom-bom-bom-called Ma, on Stroboscopic Artefacts, but it's not that rhythm that's interesting, being the most basic untreated 4/4 imaginable, rather what he adds, such as piano tinkles, even treated piano, perhaps, as if flirting with the idea of John Cage & the avant-garde gang banging metal sheets, chiming pipes, perhaps a gong etc, all of which make the first two tracks an odd hybrid of brut beat & minimal art noises. It's the title track that really works, though, changing the template totally, sounding like one long Photek break slowed down a little and given space to breath with more avant-clatter like the kind used previously gaining prominence...for over 12mins...it shouldn't work, but to these ears the combination of sparse, hefty percussion and strummed piano strings etc is terrific. If Ali Wells listened to me (he won't, sadly), I'd urge him to explore this area more thoroughly.
Ipek Gorgun, unlike Perc, is not bound by (associated with) beat limitations, being of the electroacoustic/experimental school, or to be precise, the Istanbul Center for Advanced Studies in Music, no less. Her debut album, Aphelion, is a first-rate odyssey through sonic variations in space and time, with some oomph included in the form of low end interventions, gritty glitches and lots of stereo pan-tastic mind-widening pleasures, the kind which remind you that music can still surprise and stun in equal measure in the hands of a sonically liberated soul such as Ipek Gorgun. Bloodbenders is especially good whilst elsewhere she's more restrained yet still intriguing.