Album Review: Arpo by Call Super

A totality of vision surfaces on every production Joe Seaton releases as Call Super, from the music to the artwork. That's true of the slithering tracks he made in collaboration with Beatrice Dillon, as well as his adventurous entry in the Fabric mix series earlier this year. In advance of Seaton's second full-length, Arpo, that ardor even extended to hand-inking 200 7" sleeves for the album's first single.

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B ehind the decks, Joe Seaton, AKA Call Super, mixes up a cosmopolitan blend of techno and house, but his own productions are pitched at those dissonant, poignant moments after the night has ended, when you're wandering home past people off to Parkrun and Sainsbury's. There are pulses, but they shift on their foundations; No Wonder We Go Under has a Larry Heard-style house bassline, but the lack of a heavy onbeat sends it drifting into the beyond. Frequent appearances of a quavering clarinet, hardly rave culture's go-to instrument, further enhance the very particular beauty of his vision, which, a little like Laurel Halo or his recent collaborator Beatrice Dillon, comes at dub techno with a jazz arranger's mindset.

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Arpo is Call Super's followup to his acclaimed debut album, Suzi Ecto. Still as unpredictable as its predecessor, Arpo is a delicate record that drifts more often than it compels any dancing. That said, its hazy opener exhibits the record's uncanny knack for juxtaposing traditional instruments with a contemporary palette of modular chimes and sputters.   Arpo forges lush soundscapes by drawing on ASMR techniques, layering textures over the arpeggiated hooks that drive the record. A saxophone player himself, Call Super subtly peppers hazy ….

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