Fresh SubVersion idea for 2011: algebra, psychokinesis, sound theory, mixed into 26 articles. A companion mixtape every time. Extends TDD, 15 Minutes Of Fame and DE projects. We're starting with: "Armless Salvation - Ambient beyond 2011".
Tactful cadence: paradox, truth, imitation, cultural stigma - began as healing. Noticeable for Ambient lovers. Perhaps, wiring for DE 2008. A-list scripts, mock MySpace subs. 26 letter alphabet; root genre.
A factor implcitly poisons our cause/effect synapse - noise scrawls where psyche followsBrain exercise: relaxation, torture, true 'salvation', cools gently. Ambient still soundtracks Yoga, Pilates and Tai Chi. The gradient punk, plus assimilation of martial arts, lit from 60s Flower Power spark. There's still inspired CDs of this ilk - a recent recommendation would be "Mind Body Spirit Tranquility", a package from Summertime Publishing. Second track, "Inner Peace", is magnificent.
Admire grazing, Kryten?Eno's 1988 quasi-Ambient: "Apollo"; modded "Small Craft On A Milk Sea" as Ambient/IDM crash diet. Go to www.culturespam.wordpress.com for an excellent "IDM For The Uninitiated" technical Sushi. While more choose dubstep like Mills & Coronation Street, Simon Reynolds, 2009-2010, voiced a dislike of his 'Ardkore Continuum theory depreciating - the fact 'Ambient Dubstep' reinterpreted DJ Shadow fickly 10 years on, hitherto a flat landscape, with no fire.
Prodiguous intellect survives, arti-flash perishes.
Harold Budd tapped telegraph poles in the '60s; 2007, accenting R. Guthrie's guitar. The gorgeous "After The Night Falls" I listen to as a beehive meld. 2010 with Clive Wright's "Little Windows" affirmed: hopes anew soon, beyond Cocteau Twins appraisal. I'm looking forward to studio output from Anna Rose Carter in this vein - Fluid Radio's no.1 of 2010.
Classically, Gilbert & Sullivan, bowled Pinnochi-undergrowth in 1700s. Burying snotiness of row G. Paltrow. Apple of fashion industry; didn't turn green in 20 years. Japan's Jan Linton, otherwise, has superb Buddha Machine remixes set for release, bypassing techno-geekery, like sonic Frazzles at room temp. 101. Stalwarts such as Type save populist bacon, continually churning good - i.e Deaf Center's "Owl Splinters" in March; Xela's event residency in Boston, America.
Ambient scene troll abuse, online communication failure, generally absent.Sites including Fluid push on weekly, with ASIP, SubVersion, DIB Music and HiddenPlace Music spacy highlights. Nonetheless, there's no single hotspot (e.g a forum) for Ambient lovers. But the disparacy is partly Ambient's strength; always returning you to sender. The bassline is placatable air, Lenor quilt melody unruffled. Opening courteousy central. No electro-acoustic popcorn required! The best soundtrack to continue: Brian, Roger Eno, Daniel Lanois: "An Ending (Ascent)".
Folk Rock quirks - the brilliant Autumn Grieve project of lateModern Composition is integral, not blunt surgery. I.e later Clannad, and their "World Of Difference". Or Thom Yorke's "Videotape" composition. A selective, charitable cook-up: Ambient's indie cred like Apple chutney. Audioscope, who had Felix, SoTL members in Oxon, for Winter, plus Rome Pays Off, Rothko's new incarnation, shadow Oxon-world group One Day Soon. "The Deepest Truths" digital LP, donations funding relief for GAZA attacks, was Slowdive brill side; dropping 1996 Creation-ism for Darwinian win BC.
Paid advances - Daniel Lopatin; Aphex; Plaid; amb/rasive noise via Merzbow and Formication, ruminate action/reaction, distraction/target. Plaid's Gamelan Orchestra, a rare sight at Oxford Playhouse, wowed with a 7-10 piece program. While OCM brought feats, like Budd's 25+ year return gig at Holywell, to my city. Cafe Oto, Dalston, holds Wire zine-sponsored events, and talks. Pitchfork has an odd article on what's 'in' the blue.
Problem is, wholesale, AFX blitzed arrows in '90s Ambient anorak, before the rise of chill-rave. "I suppose it is important for me to do it in the sense that it helps me live, you know." Making handfuls of tracks mentally, day by day. Fabrics got punctured by Chicken Run trailers. Never far past boundary, through Ambient's indispensible can(n)on. Squat, ignite, splat. Or...
Send + ReceiveCompared to Oasis mosh crap, the outlay (booking the niche genres, promoting the niche opinion) is bloody worth it. These dudes love to play, and if they don't, rip it up, and don't restart. Winnipeg's Send + Receive festival brought: Tim Hecker, Sawako, Taylor Deupree, Oren Ambarchi, et al, to their intimate shows in preceding decade. Their documentary/audio DVD double put across their events as small-time operations, looking for a loyal following.
Elsewhere, domains such as Phuturelabs - who I can't keep up with, four new entries every 24 hours at most - drop knowledge on post-classical (Max Richter), William Basinski, and assorted Ambient goodies. Resident Advisor covered Pop Ambient compilations for length. And though surging into Demdike Stare-ish trends lately, maintain flavour with vast subforums, allowing members to discuss news, their views, and, er, 'Witch House'.
We need a rocket saladAmbient's formula; affairs surmised in tinkle - ejects you pre Shitehawk Close. Like Lee Perry rollies, rather than Wiley ringtones. Versionists, early, attract robustness: late night alt. Radio, Guardian articles. Even NME with now lauded The Stranger! (Research-worthy.) Pop malpractice, grew circumstansially: 50s love song Sugar, 70s Lennon cake. Uprooting vitality. Ricardo Villalobos dovetailed affection with recent dum-drone euphoria. Key 2009-2010 crustie drug, Mephedrone, relegated to Class A standard, a polar travesty. Purple limbs, deaths - few considered untested dangers.
Warped perception, predated '90s Warp crew, drawing nerds into Newt ideology - partying freely, and armchair zombie - which G&S exploited exorbitantly in 17th Century. Last year, talents inc. Ypsmael (Cluster support in Cambridge), Oxon guitar chap Lee Riley (Guitar Works solo / Vileswarm group) and outsider giant Kevin Drumm, pierced the 'Noise for Noise's sake' principle, wiping dirt from compilist fusion, both contexts (passive, active) simultaneously.
Mix "The Pirates Of Penzance" with Formication's "Catastrophe In Blue"Detune vocals 300 cent, add Q Filter low, reverb vox trails over chuntering rain machine. Sit back and watch sparks fall to Earth, and calm. It's like Throbbing Gristle all over again, only bigger. Easy Tubbs and Edward. Strangers shall come to Ambient, but they won't touch the precious things of your shop. Unless you inflame their skin. Exactly what landmarks Coil did in their prime, with the spine-chilling "Musick To..." a bunsen of singed termite pits.
What is this man looking for? Poof on terms ay?Binlingualism attracts me to Ambient daily. Track names fairer, spacious affairs. An improvement of "My Mum's Iron Is Coming To Autograph Your Forehead". Or "Daddy Didn't Feed Me Coco Pop's, Now I'm A Mad Mo'Fo With An Erection". Get back fam', let's talk between the lines. Ambient's recreationality, goes deeper than Dizzie, Shystie. Sure, infantile 'beef' can be amusing, but where's progress? Public Enemy walked that line a lot better three decades before - the grime was still there, but it was human, not a dollar bill Barbie in disguise. Too many dolls, not enough seeds of love.
Real green stuff, Ambient, and forever non-fervent.The Sight Below's "It All Falls Apart" in 2010 picked up JD's "New Dawn Fades", clairvoyantly binds Strauss' and Hawkwind '74. Sound ambitious? Listen through discographies; check for yourself. Cyclical nirvana, insisted by arising cod-Downtempo (Zero 7, Lamb, Portishead pre "Third") burnt Ambient cogs insularly, both ways. Possibly harsh judgement: the synths, hypnosis, and reliance on pulse over rhythm remain intact: Bonobo, DJ Trax and Pilote see to that in Downtempo, but...
"Armless Salvation" mixtape will be online at the weekend.
