Airlock

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It’s November 1997, and Scottish-born Esra Tasasiz is living in Brussels, holding down a full-time job and hanging around a studio, singing on house records in her spare time. One day, a mutual friend introduces her to Pierre Mussche, Ernst Meinrath and Renaud Charlier, collectively known as Musicom - three professional studio boffins, crafting tracks of electronic ambience and atmospheric, orchestral hip-hop, as soundtracks for adverts and films. The four strike up a professional relationship for the purpose of recording a short, commercial piece of music, but the chemistry is startling, and it quickly becomes obvious that the tracks laid down in the sessions work outside the confines of cinematography. The four form Airlock, and the chill beauty of ‘Drystar’ begins to take shape. True, there’s a precedent in the itchy DJ Krush-isms of ‘DJ Risk Vs Airlock’, the edgy Underworld-on-downers atmospheric of ‘In The Mouth Of The Fish’, or the Massive Attack-esque avant-garde torchsong ‘Awakening’. But Airlock’s charm is the way they take their expertise of a modern studio, their commercial nous - and then slowly, surely twist such elegant compositions into alien shapes. During the making of ‘Drystar’, Airlock struck up a relationship with cult film director Olivier Van Hoofstadt, and wrote some tracks in conjunction with the making of three of his films - Keo, Snuff Movie, and James-Bond-as-a-psycho-bitch-from-hell action thriller Parabellum.
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