Not only is this a sampler, but it’s also a sequel. As a sampler, 14 artists have been asked to deliver a piece of music inspired by Philip K. Dick’s dystopias. Philip K. Dick who probably 99% will know, but for the remaining 1%: Blade Runner (Do Androids Dream of Electric Sheep?), Total Recall (We Can Remember It for You Wholesale), Minority Report, Screamers, A Scanner Darkly and The Adjustment Bureau are just a few of the movies you may have seen based on his stories. The term dystopian, concerning maybe sci-fi, is not far away, so the music you’re about to hear should probably be electronic and creepy.
I said it’s also a sequel, because earlier this year, Unexplained Sounds released “The Neuromancers. Music inspired by William Gibson’s universe” in combination with a book containing stories. They already did some things earlier with William Gibson, so the Aural Disorientation, the label is known for (read: uses as tagline) is audio, words and art. And that is a nice thing. Even though there is no book with stories this time, the CD itself, which is just about maxed out on 77 minutes total, has enough creepiness to give you nightmares, and enough harmony and structure to make you want to listen to it whole.
Artists on this album are from all over the world and from – for me – unknown to heroes. The opening track by Mark Hjorthoy is a welcome first indication of what we’re about to receive. Nice swooshing and some analogue sounds in the bass pattern. And directly after that is Adi Newton, who with “Non Psychogenic Ambivalence” delivered the longest track. The composition is close to later Psychophysicist, experimental and lovely in depth. But I’m not gonna go through all the tracks here. Then it wouldn’t be more fun for you to explore this one. Though there are a few tracks that are very much worth mentioning. The opening of Mario Lino Stancati’s “The Battle of the Inertials” is straightforward, and the track is quite descriptive of what a dystopia can be. Tescon Pol might well be my favourite on this album. “Something Wrong” has an alienating atmosphere and is a perfect example of the difference between vocals and voices in music. When does a voice end and become a word or a sound? But also, where is the line between when information becomes a message? Dead Voices on Air Dadu creeps the sh1t out of me with the dissonant layers. If the next instalment of this series is a sampler based on the mind of Aldous Huxley, feel free to mail the primary office. I might have a few uneasy listening tracks for you to include 😉
Comments
Post a Comment