Abstract Electronic UK
Abstract Electronic UK An introduction to the contemporary experimental electronic practices within the UK, artists producing at the intersections between post-ambient and power-ambient composition, electroacoustic methodologies, and the frameworks of deconstructed club (Lanark Artefax). These works explore timbre and texture as forefront compositional components (Flora Yin-Wong) and demonstrate advanced approaches to sound design and signal processing. Non-linear form and process-driven compositional systems (Roly Porter) take precedence over traditional structures/form, rhythmic or harmonic progression. 21st century work that draws from the spectral (Joshua Sabin), noise (Emptyset), and post-industrial (Drew McDowall) lineages of the 20th century. This approach to composition is shaped by an informal pedagogy transmitted through technology, online channels, production techniques and club contextualisation rather than through formal institutional structures or genre formulae. The studio as an instrument. Pt 1. People’s Playlist by Eli Callingham Ambient,Electronic,Experimental {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
You Are Here
You Are Here Ambient,Electronic,Experimental Today, the balance between attention and distraction is more fragile than ever. We’re overwhelmed by information and trapped in feedback loops, caught in a collective noise that drowns out perspective and presence. But is it always necessary to be present? When can escapism offer clarity? And what might it really mean — to be here, now? People’s playlists by: Pilot Magazine Instagram {{ reviewsTotal }}{{ options.labels.singularReviewCountLabel }} {{ reviewsTotal }}{{ options.labels.pluralReviewCountLabel }} {{ options.labels.newReviewButton }} {{ userData.canReview.message }} You Might Also Like Recent Posts
✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci
Violetta Vicci by Venetia Jollands ✦ ✧ ∗ Glastonbury Interview ❥ Violeta Vicci “I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated.” 26.06.24 Words by Jessica Blissitt What has your journey been like on the road to Glastonbury? How does it feel to be performing at one of the most infamous festivals of all time? My journey has been a fun one, full of exciting performances, collaborations and lots of trial and error along the way. I started playing the violin when I was four years old, born and raised between Barcelona and Switzerland by bilingual parents; At 18 I moved to London to train as a classical violinist at the Royal Academy of Music. The first time I played Glastonbury, I was still a student and a member of a klezmer, d&b band and we played an afternoon slot at The Green Fields. I don’t think I really understood the magnitude of this festival back then! A few years later I played The Park Stage with elbow, as one of their touring violinists. Two years ago I played The Other Stage with Fontaines DC, after arranging three of their songs for string quartet! I thought that was the highlight of my Glasto journey – until finally, this year, I get to perform under my own name and bring my fully immersive audio visual show to the Tree stage. It’s a totally different experience, and it feels pretty amazing to be honest. Your third and most recent album ‘Cavaglia’ is described as reflecting the ‘pristine Swiss valley’ on your website. Do you perhaps have a song in mind that could describe the chaotic landscape of Glastonbury? Haha, possibly the song Diavolezza could relate to the Glasto chaos – however, I think my album Cavaglia, which is seeped in alpine field recordings will work perfectly in harmony with the Woodsies Area, bringing this mountain landscape to the gorgeous old British Oak and Beech Forests of Somerset. In your mix from Classical to Electronica, what can we expect to see from your set at Glastonbury? Will it be a carefully curated list, or can we expect a few pieces of improvisation? Both actually: It will be a carefully curated list from my album Cavaglia, with two fully improvised sections and links in between the written music. I really like taking the listeners on a journey with a laid out path, including surprises and new additions along the way. I love the fact that a live performance is different every time. Through your musical career, you have performed in many amazing places, and I’m sure that every audience is incredibly unique. So, in your opinion, what is one thing you like about British crowds at festivals, and what is something we could learn from our European counterparts? Yes, you are right, I have performed extensively in Europe, US and around the world in countries like Chile, Mexico, South Africa and Australia. Different countries certainly have different type of audiences! As a solo artist I’ve mainly performed in the UK – I love the enthusiasm of British crowds, and the ability they’ve got to stay really silent when captivated. It’s a lovely, very welcoming mix of people, who aren’t afraid of letting go and having a great time! View this post on Instagram A post shared by VIOLETA VICCI (@violetavicci) With so many incredible gifts as an instrumentalist, which instruments will you be bringing with you to Glastonbury? I usually tour with my violin, which I use together with my fx pedal board, midi pedal and my voice. I do love to perform the Octave Viola live, because it has a gorgeous deep sound and I used it quite extensively last year, when I was performing with Bat For Lashes. The only downside of festivals is that there is usually barely time for sound check and limited set up time, so simplicity is key! Many argue festivals are a great place to experiment with new music. If you were intending to move in a different direction with your music, what is a genre, idea, or thread that you might like to follow with your music? I’m writing my next album at the moment, and I think I’ll possibly explore the more electronic side going forward, as well as start experimenting with writing lyrics. This is a big step for me..and in a way it is a totally new idea to my fully instrumental/choral music so far. Aside from my solo project, I have already written a few pop songs with my psychedelic indie rock band, TTRRUUCES and would like to do more of that too. I also love writing and arranging string parts, which I’ve done for Fontaines DC, Grian Chatten’s last album, as well as the upcoming Sorry album. That type of work really inspires me and opens my eyes to different influences. Who knows what the future will bring! As a violinist, you may be aware that there has been a recent fascination in bringing classical composers into modern rave remixes on social media. If you have or haven’t come across them, what are your thoughts on the idea? And do you think it would be interesting to see a whole stage of Glastonbury dedicated to classical-rave in the future? I’ve not actually come across them on social media, but I think contemporary festivals are programming classical acts more and more, and there seems to be a shift where the ‘contemporary classica/cinemaitc/ ambient’ genre acts as a bridge between more traditional classical music and contemporary music. Hell yes, I’d love to see Glastonbury dedicate a whole stage to classical raving in the future 🙂 You Might Also Like
˚ ⁀➷New Album Release ˚ ༘✶˚ ⁀➷: LI YILEI “NONAGE”
⁀➷New Album Release ˚ ༘✶ : LI YILEI “NONAGE” “Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.” 19.03.24 Words by Isaac Phelan https://www.youtube.com/watch?v=Qw-VvhpZpcU In the realm of music, few endeavours are as deeply personal and evocative as exploring the corridors of one’s own childhood. London-based Chinese composer and multi-instrumentalist Li Yilei returns to Métron Records with their latest album, “NONAGE,” a poignant reflection on their youth. With a blend of introspective compositions and innovative soundscapes, Li Yilei invites listeners on a nostalgic voyage through the realms of memory and emotion. “I remember pressing piano keys like touching flowers, reading scores like looking at paintings, writing like how I would talk to myself, greeting death like how I would greet life.” Through a masterful combination of samples from old Chinese TV shows, mechanical toys, bird whistles, broken accordions and an array of acoustic and electronic instruments – some of which were personally designed and built by Li – “NONAGE” emerges as a testament to the power of music to capture the essence of childhood,offering moments of contemplative transmigration where past and present intersect. The Album artwork created by Li even includes photographs of the ‘Umbrella Wind-chime’ – one of the custom instruments built by the artist and used on the project. “This album can be viewed as an extended form of poetry and sonic landscape, an extensive dream.” The first part of the album explores the carefree and playful instances of early life, which is contrasted by the exploration of “Trauma” – the keyword that the second half of the album examines, seeking reconciliation, mending, and growth. Listeners are encouraged to engage with this album as if it were a dream, in the form of non-linear poetry. At the heart of the album lies the Chinese title “垂髫,” which translates to “childhood” or “dishevelled hair.” This evocative phrase encapsulates the carefree phase of life when children let their hair down, both figuratively and literally. For Li Yilei, “NONAGE” serves as a doorway to revisit this cherished period – a space to confront the spectrum of emotions, from fear and fearlessness to love and despair, grief and glee, curiosity and mistakes. Initially conceived as an archive project, “NONAGE” will now make its debut on March 6th, and promises listeners an intense journey of rediscovery – to revisit the innocence, wonder, and complexity of childhood through the transformative power of music. From the whimsical melodies of “Go, Little Book” to the haunting ambience of “Thé Noir, Rêvasser, Retrouvailles,” “NONAGE” serves as a poignant reminder of the enduring impact of childhood on our lives. In the hands of Li Yilei, this concept becomes not just a distant memory, but a living, breathing landscape waiting to be explored anew. View this post on Instagram A post shared by LI YILEI (@li_yi_lei_) You Might Also Like
NEW SINGLE RELEASE – Hilary Woods ‘Where The Bough Has Broken’
NEW SINGLE RELEASE – Hilary Woods ‘Where The Bough Has Broken’ 28.09.23 Words by Jack Tyrrell An ambient ode to Dublin: Hilary Woods is a Dublin-born ambient producer signed to Sacred Bones Records. Her work stretches to many aspects of media, such as song, sound, writing, and filmmaking, all complementing one another as she lays down a beautiful set of ambient work. Her newest single, titled ‘Where The Bough Has Broken’, is a magical piece taking on aspects of dark ambience and drone. The single is one of nine slow hypnotic dirges to spawn from Wood’s new album Acts of Light (coming out on November 11th) and is a beautiful place to start for listeners wanting to get a sense of the sounds to come. Slow, heavy droning and synth establish the groundwork for the piece as layers of viola, cello, and choral chant seep in. Once the strings enter, the cello and viola create a truly frozen ambiance reminiscent of ancient Nordic funeral marches. Woods recorded the strings in Oslo as they were performed by Jo Berger Myhre, which could account for the sound. The Plestrina Choir, together with the Galway City Chamber Choir, adds to this coldness but also adds a sense of sacredness to the composition. Both the choirs used in this piece Woods recorded in the Procatherdral Dublin, in her hometown, creating a natural reverb to the track as the unified voices dance upon the cieling of the cathedral. Woods upcoming album ‘Acts of Light’ is said to be overflowing with reminiscence and nostalgia of Woods’ hometown of Dublin; that influence is already being used with archival footage found in the music video for the single ‘Where The Bough Has Broken’. Woods explains her reasons for doing so here: “This video muses on the beauty of community and resilience, made to a piece of music that celebrates connection and the specificity and transience of time, space, and human expression. This music video is a visual love letter to the Dublin City I grew up in, to the spirit of familial roots and the extraordinary moments in ordinary life that leave their lasting impression.” It’s exciting to hear the first taste of Hilary Woods developing sound, and with Acts of Light set to release in November, it’s even more intriguing to hear what’s next for this artist. You Might Also Like Uncategorised
NEW SINGLE RELEASE – Romy ‘The Sea’ (TDJ Remix)
NEW SINGLE RELEASE – Romy ‘The Sea’ (TDJ Remix) 15.09.23 Words by Scott Rudd Ballad of lost love injected with bassline makes you forget what was sad in the first place Fresh off the release of her critically acclaimed debut album, “Mid Air,”(Young) which saw the artist revisiting her nightlife experiences in the queer clubs of London, The XX’s Romy has collaborated with Montreal-based trance and rave producer Geneviève Ryan-Martel, professionally known as TDJ. Geneviève last released her “BACK TO 123” (Collection Disques Durs) EP in March, featuring a diverse range of tracks spanning house, trance, and even punk elements. Together, they have crafted an electrifying remix of the final single from “Mid Air,” titled “The Sea.” Produced alongside the house music wonder boy at the moment, Fred Again, the original album version is a slow-tempo dance-pop ballad with Romy singing wistfully about a lost love she encountered “by the sea.” Despite its mellow and straightforward nature, it retains a danceable quality. However, what TDJ has accomplished is increasing the speed at which the people will dance, though manipulating the vocals, gently echoing them into the background, and infusing the beat with elements of bassline, trance, house, and ambient sounds. This transformation is sure to evoke nostalgia among clubgoers, both from the past and present, harkening back to the early days of 90s rave culture. This song checks all the boxes for what makes a great club tune. It features cleanly chopped-up vocals that seamlessly integrate with the instrumental, lyrics that explore themes of love (whether it’s finding it or losing it, both perspectives work in dance music), and a relentless four-to-the-floor drum rhythm. The revival of bassline music in the UK has been dominating the charts lately, from the energetic tracks of Bad Boy Chiller Crew to the more understated and softer variations exemplified by Eliza Rose, whose “B.O.T.A. (Baddest Of Them All)” spent two consecutive weeks at the top of the UK singles charts. Although “The Sea” hasn’t achieved the same level of commercial success as “B.O.T.A.,” it doesn’t really matter. These songs are meant for the club scene, where lost souls seek companionship and connection. Tracks like “The Sea” thrive in the right environments, and with the current resurgence of dance music, it’s bound to find its audience. Romy has also recently unveiled a series of tour dates in support of her debut album, spanning across Europe, the UK, and North America, aptly named “Club Mid Air.” The tour is set to kick off in Paris on November 9th and will culminate in New York on December 7th with her London date at Electric Brixton sitting at the end of the first leg on November 18th . You Might Also Like Uncategorised
NEW ALBUM RELEASE – Nabihah Iqbal ‘DREAMER’
NEW ALBUM RELEASE – Nabihah Iqbal ‘DREAMER’ Nabihah Iqbal’s highly anticipated second album ‘DREAMER’ takes the listener on an ethereal journey, featuring a departure from her previous creative direction, with a range of abstract and varied soundscapes, making for a truly transformative experience. Words by Isla Mcrobbie Five years after her debut album, Nabihah Iqbal has released her highly anticipated second album, ‘DREAMER’. This 10-track LP includes previously released singles such as ‘Sunflower’, ‘This World Couldn’t See Us’, and ‘Dreamer’. Nabihah takes the listener on an ethereal flight, with swirling layers of reverb, delay, and tremolo. In a unique approach, the vocals are subtle on the opening 6-minute 40-second track, ‘In Light’, buried deep within the mix, and used more as another mixture of sound than a primary focus. It’s clear that this release has been perfectly timed to soundtrack the birth of spring and sun. Nabihah’s latest album represents a significant departure from her previous creative direction, featuring her most introspective and candid work to date. The placement of the three singles after the opening track is a pleasant surprise. Too often, artists sprinkle their primary tracks to cover for those that slack, but after two years of making this album, I feel that Nabihah wants the first listen to be a journey completely untraveled and unpredicted. The combination of her skills as a musician, producer, and DJ is stimulated into the most abstract and varied songs that collectively make a truly transformative experience. The soundscapes range from gentle and atmospheric to dense and overwhelming, incorporating dance (Sunflower, Gentle Heart, Sky River), shoegaze (Dreamer, This World Couldn’t See Us, A Tender Victory, Closer Lover), and ambience (In Light, Lilac Twilight, Sweet Emotion). Her enchanting spoken word and hazy vocals breeze through the album like a field of flowers. It’s worth noting that the album is 44 minutes and 44 seconds long, which signifies that it’s time to pursue your dreams and that all your hard work is sure to pay off. Hats off to you, Nabihah! ‘DREAMER’ is sure to be one of my top albums of 2023.