Superlative Fatigue

Returning with his first album in 13 years, Errorsmith’s ‘Superlative Fatigue’ long-awaited release on PAN arrives as his perhaps most optimistic record yet. Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion. In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: “I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.” He suggests. “I find it touching when this little android raises its pitch at the end of ‘Lightspeed’ or the android catching its breath in ‘My Party’ for instance.” The album title, ‘Superlative Fatigue’ reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness. Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, ‘Razor’, (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it. Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length. The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.

Erik Wiegand produced his wildly fun new record with the digital synth he invented. Fueled by dancehall, its manic pleasure offers a way out of techno’s self-serious cul-de-sac.

A robot stutters rhythmically amidst a flurry of synthetic drums as "Lightspeed" brings Superlative Fatigue, Erik Wiegand's first full-lengt...