There are few musicians who manage to explore the convergence between techno and experimental as successfully
as David Letellier. Known as Kangding Ray, he has been producing for almost a decade, releasing his music exclusively
on Raster-Noton and Stroboscopic Artefacts.
The aesthetic domains of these two labels epitomizes Kangding Ray's complex sound — it's an aesthetic that tests
boundaries, evolving tirelessly in its exploration of texture, rhythm, and sound design.
Letellier's foundations in rock and musique concrete give his music a vitality and uniqueness that has won fans
the world over, from discerning avant-garde–electronica listeners, all the way to devoted clubbers.
KR has also been known for remixing artists such as Battles on Warp, Ben Frost on Mute, or Inigo Kennedy on Token.
Those who have been following Letellier since his debut album, 2006's Stabil, will recognize not only his meticulous
and constantly developing approach to sound design, but also the conceptual gravity behind his releases.
Through a string of recent EP's and albums, culminating with the critically acclaimed "Solens Arc", KR showed
his ability to keep his artistic approach while delivering direct and powerful club-leaning tracks and darkly
cinematic soundscapes. On 2015's "Cory Arcane", he pushed the limits of his sound even further. Relinquishing
standard rhythmic structures and conventional tonal models, he delivered what is perhaps his most sophisticated
release yet; a raw and visceral universe, allowing a more fluid dialogue between soul and machines.
2017's "HYPER OPAL MANTIS" released on Stroboscopic Artefacts heralds a new era for Kangding Ray, where he explores
the tension between the natural and artificial, the body and mind, which are central themes in electronic music
in general, and Techno in particular. The means of creation, focused around technology and interactions with
machines, contrast with the emotional response to sound, the mystical ritual of collective dancing, and the
ethos of liberation and tolerance embedded in the culture it has produced.
As he describes it himself in a recent interview: "I've been evolving since a couple of years at the outer fringes
of the club culture, where it overlaps with different experimental and avant-garde genres. While I intend to
continue to explore that zone as a free maverick, I also wanted to give something back to the scene, something
strong, beautiful and functional at the same time, while retaining enough personality to be exciting."
(Adapted from words by Vincent Morris)