dvrst, :heartfield:

"a word that describes workers of the anus and the mouth, the vagina and the hand as active instead of passive (...) the ring and the tube are rendered active. that’s all there is to it."
Bini Adamczak, On Circlusion, 2016

“Circlusion” stands for an autonomous take on the allegedly diametric term of phallic penetration. Taking a grip of active pleasure for which there hadn’t even been a word for it before Adamczak’s essay in 2016, DVRST transgressively use the term for acts of personal and political empowerment to raise questions about privilege and power structures.

As such, their distinctively creeping industrial bass music tends to gradually suck recipients into their own abyss of self-perception, trauma and binary patterns of thought. Dragging drums consistently collide with dissolved walls of repetition, relishing the trance potential of classical minimalism, thus becoming the only perceivable sense of safety. As binding matter, deep swirling synths form an undertone of severe drone pressure as well as of volatile evaporation. While encrypted layers of vocalism roast the unease artistically and societally, they seemingly transform into entities of collective outrage hiving off into utopian spaces of solidarity.

Since late 2017, the duo Tanja Fuchs and Vinzenz Landl have been working together, creating auditory pieces stemming from their common background of pop flavoured free improvisational music. The emerging soundscapes breed discord and unity between contemporary club culture and avant-garde noise.