Written and recorded in brief and intermittent bursts, the duo would take sounds and ideas back to their respective countries to let them settle and concoct slowly. Often waiting months before reconvening, work on the compostions transcended continents and any sense of time as the record developed to full form by natural and unforced organic process as Aspegren explains; “We always work slowly, but this time around, as we were living in different countries, so it became an even more different way of working… the recording sessions were full of energy because of all the uncertainty and anticipation about what was going to happen” And whilst a sense painstaking precision is evident throughout ‘Build With Erosion’, the technical virtuosity of the compositions and production never gets in the way of a good time.

This is a band that believes in the cosmic power of the drum and the captivating force of rhythm; key factors that define a heady mix of disparate elements. Coming on like Fela caught up with Liquid Liquid in a Guru Guru head jam, tough drum funk (played live on kit and programmed on MPC) drives layers of moon spangled electronics with raw rhythmic propulsion forming syncopated paths through rain forest cluster bursts of blips and whirs. From the tribal polyphony of ‘Body Movement’ and the punishing bashment patterns of ‘Convert the Measurement’ to the Neptunes crunk of the title track, the drum rules the design, underpinning Eno like ambient tones, haunting piano lines and highly infectious vocal lines throughout; “It seemed like the natural place for the music and I was really feeling the need to write vocals in that period. I also started to love singing and playing the drums in that period, there’s something liberating in that.”

Berg Sans Nipple intercalate an expansive, pan cultural ethos with the relationship between Aspegren and his band mate Lori Sean Berg. It’s their long history of friendship and creative experience that gives the pair a deep rooted complicity and sense of trust, something that enables them to throw down their strangest ideas and to follow them right through, creating something entirely original that is both audacious and convincing. The band’s idiosyncratic moniker is the result of unusual process and is an anagram created by the band whilst drinking wine in a French courtyard where they were inspired by the theorist Michael Pollan’s suggestion (made in reference to cooking) that one should “take something, do something to it and then do something else to it” - an approach that clearly applies to their creative process. But don’t let that fool you, this is not music built up to impenetrability, but rather that welcomes, invites, then provokes. ‘Dead Dinosaurs Rule The Earth’ traverses a tumultuous array of different places as it goes from beginning to end and ‘Pink Rays Sugar’ is the perfect song to play the album out: a retrospective amalgamation of the band’s unerring servitude to making sound unlike anything else. Following on from gloriously well-received UK shows in late 2010 (including an appearance at Godspeed You Black Emperor’s All Tomorrow’s Parties festival) ‘Build With Erosion’ will be a highlight of 2011 for many and will endure for years to come – a classic record from a highly original band.

Written and recorded in brief and intermittent bursts, the duo would take sounds and ideas back to their respective countries to let them settle and concoct slowly. Often waiting months before reconvening, work on the compostions transcended continents and any sense of time as the record developed to full form by natural and unforced organic process as Aspegren explains; “We always work slowly, but this time around, as we were living in different countries, so it became an even more different way of working… the recording sessions were full of energy because of all the uncertainty and anticipation about what was going to happen” And whilst a sense painstaking precision is evident throughout ‘Build With Erosion’, the technical virtuosity of the compositions and production never gets in the way of a good time.

This is a band that believes in the cosmic power of the drum and the captivating force of rhythm; key factors that define a heady mix of disparate elements. Coming on like Fela caught up with Liquid Liquid in a Guru Guru head jam, tough drum funk (played live on kit and programmed on MPC) drives layers of moon spangled electronics with raw rhythmic propulsion forming syncopated paths through rain forest cluster bursts of blips and whirs. From the tribal polyphony of ‘Body Movement’ and the punishing bashment patterns of ‘Convert the Measurement’ to the Neptunes crunk of the title track, the drum rules the design, underpinning Eno like ambient tones, haunting piano lines and highly infectious vocal lines throughout; “It seemed like the natural place for the music and I was really feeling the need to write vocals in that period. I also started to love singing and playing the drums in that period, there’s something liberating in that.”

Berg Sans Nipple intercalate an expansive, pan cultural ethos with the relationship between Aspegren and his band mate Lori Sean Berg. It’s their long history of friendship and creative experience that gives the pair a deep rooted complicity and sense of trust, something that enables them to throw down their strangest ideas and to follow them right through, creating something entirely original that is both audacious and convincing. The band’s idiosyncratic moniker is the result of unusual process and is an anagram created by the band whilst drinking wine in a French courtyard where they were inspired by the theorist Michael Pollan’s suggestion (made in reference to cooking) that one should “take something, do something to it and then do something else to it” - an approach that clearly applies to their creative process. But don’t let that fool you, this is not music built up to impenetrability, but rather that welcomes, invites, then provokes. ‘Dead Dinosaurs Rule The Earth’ traverses a tumultuous array of different places as it goes from beginning to end and ‘Pink Rays Sugar’ is the perfect song to play the album out: a retrospective amalgamation of the band’s unerring servitude to making sound unlike anything else. Following on from gloriously well-received UK shows in late 2010 (including an appearance at Godspeed You Black Emperor’s All Tomorrow’s Parties festival) ‘Build With Erosion’ will be a highlight of 2011 for many and will endure for years to come – a classic record from a highly original band.