Highly eclectic and unpredictable, Beatrice Dillon’s endless fascination and passion for diverse styles of music is reflected in her output — an intricate patchwork of half-buried African rhythms, dub techno, IDM and esoteric experimentalism. Restrained, thoughtful and always pushing the envelope, Dillon balances a studious academic curiosity with a sense of playfulness and openness to exploration, incorporating everything from squonky free jazz tenor sax to minimal glitch techno.
Growing up in London, England her first exposure to the capital's rich electronic offerings came from DJ Krush sets and Gilles Peterson residencies. For the past decade she has worked with numerous galleries as a resident artist, performer and composer of installation soundtracks, and this year she is the Visiting Artist in the music department at London’s prestigious Goldsmith’s University. A prolific producer and performer, she has collaborated with percussionist Rupert Clervaux on several releases including Studies I-XVII For Samplers And Percussion, an album that runs the gamut from reinterpreted gamelan to dub techno, and she has performed improvisation-heavy sets in Berlin with Kassem Mosse. She also hosts a popular radio show on NTS where she invites a collaborator every month to assist her in mixing ambient, left field techno, Bollywood soundtracks and musique concrete amongst other styles.
A delicate but tense repartee with her particular, aesthetic sonic predilections, Dillon's live sets both build, teeter and release, creating space for both discrete elements and ideas, and insidiously effective grooves. Her mixes and DJ sets mine similarly unorthodox territories, assembling disparate eras and genres, while managing to remain focussed on the actions of dance.