Album Review: Workaround by Beatrice Dillon

Most producers in electronic music tend to work in a linear fashion: They start with a chosen style or set of ideas and move gradually forward with them, making incremental progress toward their larger vision. Not Beatrice Dillon. An unsuspecting listener presented with a half dozen of the London musician's releases might easily assume they were the work of six different people.

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Beatrice Dillon has long experimented with widening her electronic scope, but Workaround is an LP that takes into consideration its roots. Seen tipping her hat to iconic names like Throbbing Gristle , Shinichi Atobe, and even bits of Aphex Twin , Dillon offers an intriguingly straightforward approach to influence that retains her very own personal stamp right in its center. Dillon's no stranger to the idea of risk in her music.

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The cover of Beatrice Dillon's first album is an impossible image. Made by the German artist Thomas Ruff, it's a digitally rendered photogram: a virtual take on a photographic technique invented more than a century ago. The old-fashioned kind of photogram, like the kind made by the surrealist Man Ray, doesn't involve a camera. Instead, objects like scissors and wire coils are arranged on photo-sensitive paper and then exposed to light, creating an eerie inverted image of varying transparencies.

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