t’s been going on for nearly a decade: Under cover of darkness, Matthew Dear slips out of his usual guise as pop-music innovator and exorcises his dancefloor demons through his constantly shifting alter-ego, Audion. Over the years, Dear has steered the Audion sound from grime-flecked minimalism to sinewy funk to relentless floor-fillers and back, but Audion’s core remains constant: an itchy forward momentum, an eye-popping visual aesthetic, and a dedication to high-class body music.
Audion first appeared in 2004 with two EPs, Kisses and The Pong, which offered a harder-edged counterpoint to the crisp microhouse of Dear’s eponymous tracks at the time. 2005’s full-length Suckfish unveiled the full scope of the Audion sound, as tracks like “Just Fucking” and “Your Place or Mine” presented an aggressive, sonically serrated side of Matthew Dear few had seen before. In 2006, Audion’s subversive club anthem Mouth To Mouthan ever-ascending work of art with a distinctive “swarm of bees” climaxbecame the toast of that year’s
DEMF. That track, still in heavy rotation among the world’s top DJs, was the pivot point, cementing Audion as a genuine force in the world of dance music. In 2009, Audion re-emerged with a retooled approach: seven sleek, propulsive singlesfrom the slow motorik pulse of “I Am the Car” to the hands-in-the-air energy of “Look At the Moon”released over the course of the year, culminating in Hecatomb, Audion’s acclaimed worldwide A/V tour.
Since 2009, its been relatively quiet in the Audion camptwo critically acclaimed Matthew Dear records and endless live-band tours notwithstanding. Regardless, the wait is over: 2013 saw the return of Audion with a career-spanning retrospective Audion X, a new album in the works for 2014, and Subverticul, a brand new, breathtakingly immersive audiovisual experience. Teaming up with Vita Motus (the team behind Amon Tobin’s groundbreaking ISAM tour) Dear developed the show’s music built around the Audion “A” that pulses, spins, and grows in response with Audion’s ever-shifting rhythms.