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cdr|m's
.:: a klangwerk release ..................................................::.
artist :: icarus
release :: squid ink
year :: 2001
genre :: drum & bass
label :: output
catalogue :: oprcd40
website :: www.parnassus.org.uk
ripper :: ix
date :: 01-nov-2002
quality :: 192kbps/44.1khz
source :: compact disc
.::.......................................................................::.
01 zz9 0:21
02 oott 7:47
03 cyan 7:23
04 sake 4:01
05 neon king kong 8:12
06 ubik 8:03
07 stuzzikini 4:19
08 bystanley morecombefleet 7:31
playtime :: 00h 47m 37s
.::.......................................................................::.
wax and kingsley marshall call this drum'n'bass, so i will
too...although it is certainly pushing limits of the definition.
icarus at one point fit neatly into the 'abstract dnb' category
also inhabited by the likes of source direct and photek, but while
the latter have returned to more floor friendly fare, and the
definition of what is dnb has narrowed, icarus have further pushed
towards the abstract. a beautifully fuzzy and psychedelic
soundtrack to 5 am, almost drone-like at times but with a lack of
repetition which is sure to frustrate those looking for familiar
beats.
or in the words of someone else:
icarus is the misadventure of ollie brown and sam britton,
following the fiddly twisted rhythm along a scratchy line; noise
from black boxes through which only certain pieces of data may
pass. this in turn feeds through boards and wires to become
processed as musical, by default.
in short, an effect similar to dropping ink into water is
experienced aurally as a series of ineffable blips, interleaved
within the sounds of the marketplace. with a bit of luck this
should reconfigure musical industreality into a dadist work of
precision chaos, but a freak occurence could equally spell
disaster for us all.
all icarus can do is try to mediate the event; this is the true
fate of the modern musician, sending his her sound bouncing along
wires until somewhere, at some unknown point, they crash headlong
into context. it's like tapes and cars. it's like the junk
equation. it's like the effect of indifference to sound, which is
less than the difference in sound from infront or behind. the
dissolution of noise clears way for a fragmented melody; a flux of
harmony on a polymetric pulse.
the rate of growth of data is the marker for an indifference to
sound. overwhelming are the demands on music: as yet more vibrations
fall victim to the staccato bitwise we say "let noises run amok".
.::.......................................................................::.
greetings :: sb, qdp, sour, dps, it, rac, dh, sfe, hbz, igr and mgc
.::.......................................................................::.
Files
Path
Size
[BMW]-[Drum&Bass-2001]-(65.4 MB in 8 files of kbps Stereo)-[bender@rec