Browsing All posts tagged under »intelligent dance music«

Paragaté – Pattern Of Light (experimental)

June 15, 2014

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Paragaté is a fluid ensemble; its two permanent members are Tim Risher and Tom De Plonty, both of whose names may be familiar to you from the reviews I have written over the past few years, but the ensemble has a number of other creators associated with it, and a history measured in decades. Earlier releases have featured a number of pieces credited to each man, as well as some credited to both of them, and some in which credit is shared with other collaborators. Pattern Of Light is a novelty, inasmuch as all but one of its eleven tracks are credited equally to Risher and De Plonty, the sole exception …

Dementio 13 – El Lissitzky (electronic post-rock)

June 12, 2012

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Composers of electronic music, if they wish to work with a relatively accessible aesthetic, face a particular set of challenges: to avoid a sense of impersonality, to make their music feel ‘human’, to make it breathe, when it may in fact move no physical air between the moment of composition and the moment of reproduction, requires the artist to attend consciously to aspects of the sound that occur automatically in acoustic performance. The uniformity of a repeated sound produced digitally in response to identical instructions is not completely compatible with the idea of music as an expression, as an act of affective communication; this characteristic of electronic music can be exploited as a positive (not just to evoke anomie), by addressing the …

Dementio 13 – Crash St (electronic post-rock)

January 26, 2012

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Our statements have meanings only inasmuch as they indicate distinctions or differences. Words, and other meaningful gestures, draw lines around pieces of our conceptual universe, and say ‘x means y because it doesn’t mean z’. A piece of music that sounds very similar to another, has a very similar meaning; in the context of a unified style, when lots of pieces of music sound the same, they really don’t mean anything much. They are generic. But there’s a danger of flinging the baby out with the bathwater if we reject every piece of idiomatic art on that basis: generic conventions can be manipulated to profoundly meaningful effect as well. It behoves listeners to be alert to difference, and those without an understanding of a particular style …

Archangel – Project Rave (8-bit/ IDM/ techno)

May 14, 2011

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It’s unclear how much of this album might have been created using the genuinely simple digital resources it seems to utilise, and how much use was made of rather more sophisticated plugins standing in for them, but either way, there’s a lot more processing than would be permissible on purist chiptunes (i.e. some). The 8-bit vibe is convincingly nailed regardless, and I for one have very little time for purisms of any sort. This music’s agenda is to celebrate its digitalism, which it manages to present in a way that is surprisingly organic.

Yonks – Yonks Marluk (electronica/ ambient)

May 4, 2011

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This is the second release from Yonks, hence the name. What do you mean you don’t know what marluk means? It means ‘two’ in no less than three languages. Admittedly they’re only spoken in Greenland, but still. The guitar plus electronics duo continue to plough their distinctive and highly listenable furrow, with three more tracks of (I think) highly processed guitar and programmed beats.

Artificial Sun Project – 62204 (ambient/ electronica/ IDM)

April 16, 2011

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self released, 2011, DD album, 68m 8s £name your price http://artificialsunproject.bandcamp.com/album/62204-2 http://www.facebook.com/pages/Artificial-Sun-Project/224311699231   ‘Ambient’ is a term that has carried many meanings in music. As originally coined by Brian Eno it referred to an approach which placed intentional sound in the habitable environment without necessarily making it the focus of attention: this sense drew on […]