"Anna Jordan is a trans-disciplinary artist based in Berlin, who focuses her work in the digital electronic realm as a painter, video artist and electronic musician. Her auditive work is released under her moniker, The Allegorist, for which she has 2 albums out now, and she says her format mixes all styles and genres and sets no limitations. Her most recent album was released in 2018, on Detroit Underground, is called Hybrid Dimension I-- a full length audio visual masterpiece that features music videos Anna created for each track on the album. One is currently screening at international film festivals, entitled Humandroid Lovers."
"What were your expectations when you applied for Amplify? Would you say these expectations were met?
End of 2018 I reached a step, where I was ready for new input. So the residency in January started in the perfect moment for me and I was looking forward for the new challenges. On Peter Kirn’s smaller event series in 2017 I heard Robert Lippok playing and talking about his set in Maze and I was greatly inspired by that. I had never thought that a year later the possibility would come up to apply for a residency with his mentorship. Also Raster is one of my favorite labels of all time and I was blown away that he had chosen me as a mentee.
When I applied for the residency I never played live ever, so I was looking forward to jump over my shadow. In the meantime I played 2 shows, but still I’m almost having no experience at all and was looking forward for learn more about it.
"Der Allegorist ist eigentlich Autodidaktin. Die aus Ungarn stammende Anna Jordan versteht sich nämlich als transdisziplinäre Künstlerin ohne akademische Eingrenzungen. Neben der Malerei und ihrer Arbeit mit anderen visuellen Medien hat es ihr aber vor allem die Musik angetan. Unter ihrem Nom de Guerre The Allegorist produziert sie experimentell angehauchten Techno, was uns dieser Tage die Veröffentlichung ihres zweiten Soloalbums Hybrid Dimension I auf Detroit Underground beschert. Und Jordan befindet sich damit offenbar auf intergalaktischer Mission. Jedenfalls lädt sie ihr Publikum dazu ein, sie auf einer solchen, wenn auch gedanklich stattfindenden Reise, zu begleiten. „The Allegorist is happy to inspire the soul warriors. Because there is a better future! This future cannot be reached without a change and this has to begin in our minds.“
Auf den zehn Stücken des neuen Albums wird diese utopische Storyline teilweise durch kinematografischer Dramatik und fast schon erdrückend distanziertem Pathos („Exotic Expeditions“, „Humandroid Lovers“), dann wieder mit balladesken Eindrücken („Falling Astronaut“, „Foggy Mountains“) verarbeitet. Ihre Stimme bringt Jordan dabei glücklicherweise deutlich öfter ein als in der Vergangenheit. Diese schwebt schleierhaft über den Klängen, bleibt oft unscheinbar im Hintergrund („Asteroid Temples“) und schafft es doch, ein Gefühl der innigen Nähe zu vermitteln. Ein Soundtrack, um zurück in die Zukunft zu reisen!"
August 14, 2018 Review of Hybrid Dimension I. by HiKo
"Le collectif fondé en 1997 Detroit Undergroundnous présente le mystérieux Hybrid Dimension I., recueil de 10 productions électroniques aux atmosphères immersives et organiques, combinant sonorités ambient, bass music, techno, minimal, glitch et abstract.
Second opus de l'artiste basée à Berlin, Anna Jordan alias The Allegorist, le disque est une invitation à l'introspection et à l'exploration d'univers fictionnels ponctués d'orchestrations raffinées et de touches world inspirées. Il fait référence à un tas de genres musicaux, allant de la deep house à la folk, en passant par le nu disco et le chill out...
Un petit bijou aux délicats reflets pop sort du lot, il s'agit de la touchante "Falling Astronaut", sublime chanson à la mélodie troublante et magique, interprétée d'une voix douce et fragile, sur une instrumentation down-tempo hybride et hypnotique... Coup de cœur!"
ANNA JORDAN: SCULPTING SOUND AND DESIGN
Berlin-based sound designer, music producer, and painter Anna Jordan released her debut LP Botanical Utopia in 2016, a body of music that resonates with deeply textural, downtempo electronica and house. Using KOMPLETE 11 ULTIMATE, Jordan recorded the album under her production alias The Allegorist and released the LP on Kraak Records. As a sound designer, Jordan also produces scores for short movies, and works in various post-production roles. Talking to Native Instruments, Jordan reflects on her time growing up in Hungary, her development as a visual and musical artist, the hurdles she overcame, and her approach to the creative process.
Which came first, painting or music?
I grew up in a religious family where listening to music was not allowed. The only time I heard music, for example, was from the radios of cars passing by. Later, when I moved to Budapest, I got involved in the art scene, and painting was my first form of expression.
How did you learn to produce music?
I learned almost everything online, by watching tutorials on YouTube, and through practice. I felt too shy to go to meetups, because I didn’t know anything back then. Luckily, I love to learn, and when I set my mind to something, I keep going at it until I succeed.
When did you decide to turn this into your job?
Deep down I always wanted to make music, but needed to get other parts of my life on track first. Moving into my current apartment was a big step for me. I finally had a place for myself, where I feel safe and at home, and had the possibility to grow.
.... read the full article following the link
August 15, 2016 Bucketlistmusicreviews
"The Allegorist’s debut album Botanical Utopia, released on the Kraak record label on June 27, 2016, is unusual for electronic dance music. It’s not the album’s deep, downtempo house beats that sets the Allegorist apart from other artists in the genre. There are plenty of chilled-out house music producers. It’s the haunting and, well, unintelligible singing that’s so memorable about Botanical Utopia.
According to the artist, the vocals are in the “fictional majestic Mondoneoh language.” My curiosity aroused, I researched this mysterious Mondoneoh, but found nothing. I’m therefore assuming the Allegorist invented the language for the album, or appropriated it from some obscure source not easily Googled.
Either way, it is a creative approach to music making, and Botanical Utopia is one of the more cutting edge albums I’ve heard this year. The singing sounds like rhythmic tribal chanting, which the artist explains is meant to “connect all nations and honour all our ancestors.” It can be repetitive, but dance music is usually repetitive, loopy, and rarely as avant-garde, as it is here.
“Floating Mantra” opens the album with a catchy synth-pop beat and chanting. One of the deepest and grooviest cuts on Botanical Utopia is “Aurora Borealis,” a dark and brooding string-heavy track with a hypnotic, subtle house beat. When the Mondoneoh chanting emerges, the track becomes pure cinematic house music. “Alaskan Malamute” begins with a terrifyingly cold arctic wind blowing over more of the dramatic strings and a downtempo breakbeat. The beat slowly transforms into a pounding, spine-tingling electro banger.
There’re a few deep and dark house songs like “Ragged Traveler,” but the most interesting track here is the album’s final cut “Desert Walks,” an experimental ambient opus that sounds like something from a David Lynch soundtrack. The Allegorist’s more dance-oriented tracks are a catchy version of nu-disco, but I prefer the experimental stuff, with minimal house beats, so the listener can kick back and blast off on a mental journey to another planet.
Botanical Utopia is too dramatic a for daily listening, and too experimental for most nightclubs, but after a few listens it started to grow on me. These sounds would fit well into a sci-fi movie soundtrack, and would also suit Montreal’s Mutek electronic music festival. In fact, the Allegorist reminds me of one of the avant-garde performers at this year’s Mutek: Aïsha Devi. The production on Botanical Utopia is quite impressive for a debut album, and I’m interested to hear more of the Allegorist and the “majestic” Mondoneoh language."
Written by Rob Coles
*edited by Danielle Kenedy