By Marc Weidenbaum
Extravagantly opaque, willfully vaporous Aphex dual s chosen Ambient Works quantity II, published through the estimable British label Warp files in 1994, rejuvenated ambient track for the net Age that used to be simply dawning. within the usa, it was once his first complete size on Sire files (home to Madonna and Depeche Mode), which helped herald Richard D. James, for whom Aphex dual is yet one in all a number of monikers, as an incredible strength in song, digital or otherwise.
Faithful to Brian Eno s definition of ambient track, chosen Ambient Works quantity II used to be deliberately sensible: it supplied relax rooms, the sanctuaries amid excessive raves. Choreographers and picture administrators started to hire it to their very own ends, and within the intervening a long time this historical past tune got here to the fore, tailored by way of classical composers who reverse-engineer its fragile textures for functionality on acoustic tools. at the same time, 'ambient' has moved from esoteric sound paintings to vital guideline of on-line tradition. This publication contends that regardless of a name for being beat-less, the album exudes percussive interest, delivering a sonic metaphor for our technologically mediated period of numerous synchronized nanosecond metronomes.
Mentioned on LineOut. The Stranger.com If you're already partial to Aphex dual, you'll experience Weidenbaum's deep dive into one of many artist's signature works. If now not, you'll be shocked to benefit that you've most likely already heard his tune in a single shape or one other. -- S.T. Vanairsdale
The urban (SacTownMag.com) the 'extravagantly opaque, willfully vaporous' chillout room masterpieces of digital composer Richard D. James, aka Aphex dual -- primarily what all people within the Nineties listened to as they swept up/came down after the rave -- get the company from incisive SF author and archivist Marc Weidenbaum. and very, the pairing couldn't be any further scrumptious. -- Marke B. San Francisco Bay Guardian
About the Author
Marc Weidenbaum based Disquiet.com, that's concerned about the intersection of sound, artwork, and know-how, in 1996. A former editor of Tower files Pulse! journal, he's written for Nature, Boing Boing, and the web site of The Atlantic. He s commissioned compositions from such musicians as Scanner, Steve Roden, and Stephen Vitiello, and lectures at the position of sound within the media panorama. He lives in San Francisco.
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Extra info for Aphex Twin's Selected Ambient Works II (33 1/3 Series)
Despite the religious revolution mandated by the royal family, Byrd remained a staunch Catholic, which at the time was an act of treason and punishable by death. He wrote many of his works for liturgical use by Catholics who celebrated Mass clandestinely. Fortunately for Byrd, he was protected by Queen Elizabeth from prosecution because he was a loyal subject and servant to her. Byrd’s split allegiances between the Catholic Church and the Church of England, embodied in his dual output of Catholic and Anglican music, were representative of the larger religious divisions across Europe.
The vertical sonorities that composers are concerning themselves with are based upon the harmonic intervals created when multiple voices are singing simultaneously. 33 A REBIRTH: MUSIC OF THE RENAISSANCE While people in the Renaissance could easily experience ancient art, poetry, and architecture, they unfortunately could not experience ancient music. Ancient Greek writings, however, were able to give people of the Renaissance insight into the ideals of ancient music, and those writings influenced Renaissance musical compositions and music in society.
In the Renaissance, composers moved toward greater equality of voices, paid more attention to the dissonances created by vertical sonorities (and avoided them), and sought to make each individual voice part interesting and gratifying to sing. As mentioned earlier in this chapter, there was also a renewed interest in Greek theory, philosophy and ideals. The Pythagorean tuning system (remember, simple ratios of 2:1, 3:2, and 4:3 were perfectly tuned) served medieval music well, as only perfect fourths, fifth and octaves needed to sound in-tune; unfortunately, this meant that all other intervals2 were severely out of tune.
Aphex Twin's Selected Ambient Works II (33 1/3 Series) by Marc Weidenbaum