Spatial
A Music of Sound Systems
Boomkat Product Review:
Matt Spendlove follows his Emergence series of Spatial experiments with a debut album on his own Infrasonics label.
‘A Music of Sound Systems’ expands on and deconstructs the algo-riddimic approach of Spatial’s classy Emergence series circa 2015-16, bringing forth a long overdue debut album steeped in meticulous attention to aesthetic detail.
Clearly paying dues to JA and UK system culture, Spatial also seeks out the artistic abstraction of El Lissitzky, a key figure in the geometrically-inclined Suprematism movement in early 20th Century Russia. He conflates concepts explored through musique concrète and the Darmstadt School, reducing their ideas down into a gloopy, amorphous whole that craftily creeps under your skin.
Implementing stereo panning to grant his music a tactile, structural quality, Spatial’s experiments have dub at their very root but he’s always looking to draw you in from different directions.
Each track here is like its own little microcosmic universe created by Spatial, whether it’s the chasmic void of sub bass and unsettling ripples of opener Doping Conductor or the deep Lissitzkian bleep abstraction of Proun. The latter is one of several extended productions where Spatial utilises the duration to really build a sense of escalating drama.
RIYL Lee Gamble, Mika Vaino, Alva Noto, Pole, Mix Mup.
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Boomkat Product Review:
Matt Spendlove follows his Emergence series of Spatial experiments with a debut album on his own Infrasonics label.
‘A Music of Sound Systems’ expands on and deconstructs the algo-riddimic approach of Spatial’s classy Emergence series circa 2015-16, bringing forth a long overdue debut album steeped in meticulous attention to aesthetic detail.
Clearly paying dues to JA and UK system culture, Spatial also seeks out the artistic abstraction of El Lissitzky, a key figure in the geometrically-inclined Suprematism movement in early 20th Century Russia. He conflates concepts explored through musique concrète and the Darmstadt School, reducing their ideas down into a gloopy, amorphous whole that craftily creeps under your skin.
Implementing stereo panning to grant his music a tactile, structural quality, Spatial’s experiments have dub at their very root but he’s always looking to draw you in from different directions.
Each track here is like its own little microcosmic universe created by Spatial, whether it’s the chasmic void of sub bass and unsettling ripples of opener Doping Conductor or the deep Lissitzkian bleep abstraction of Proun. The latter is one of several extended productions where Spatial utilises the duration to really build a sense of escalating drama.
RIYL Lee Gamble, Mika Vaino, Alva Noto, Pole, Mix Mup.
Boomkat Product Review:
Matt Spendlove follows his Emergence series of Spatial experiments with a debut album on his own Infrasonics label.
‘A Music of Sound Systems’ expands on and deconstructs the algo-riddimic approach of Spatial’s classy Emergence series circa 2015-16, bringing forth a long overdue debut album steeped in meticulous attention to aesthetic detail.
Clearly paying dues to JA and UK system culture, Spatial also seeks out the artistic abstraction of El Lissitzky, a key figure in the geometrically-inclined Suprematism movement in early 20th Century Russia. He conflates concepts explored through musique concrète and the Darmstadt School, reducing their ideas down into a gloopy, amorphous whole that craftily creeps under your skin.
Implementing stereo panning to grant his music a tactile, structural quality, Spatial’s experiments have dub at their very root but he’s always looking to draw you in from different directions.
Each track here is like its own little microcosmic universe created by Spatial, whether it’s the chasmic void of sub bass and unsettling ripples of opener Doping Conductor or the deep Lissitzkian bleep abstraction of Proun. The latter is one of several extended productions where Spatial utilises the duration to really build a sense of escalating drama.
RIYL Lee Gamble, Mika Vaino, Alva Noto, Pole, Mix Mup.
Boomkat Product Review:
Matt Spendlove follows his Emergence series of Spatial experiments with a debut album on his own Infrasonics label.
‘A Music of Sound Systems’ expands on and deconstructs the algo-riddimic approach of Spatial’s classy Emergence series circa 2015-16, bringing forth a long overdue debut album steeped in meticulous attention to aesthetic detail.
Clearly paying dues to JA and UK system culture, Spatial also seeks out the artistic abstraction of El Lissitzky, a key figure in the geometrically-inclined Suprematism movement in early 20th Century Russia. He conflates concepts explored through musique concrète and the Darmstadt School, reducing their ideas down into a gloopy, amorphous whole that craftily creeps under your skin.
Implementing stereo panning to grant his music a tactile, structural quality, Spatial’s experiments have dub at their very root but he’s always looking to draw you in from different directions.
Each track here is like its own little microcosmic universe created by Spatial, whether it’s the chasmic void of sub bass and unsettling ripples of opener Doping Conductor or the deep Lissitzkian bleep abstraction of Proun. The latter is one of several extended productions where Spatial utilises the duration to really build a sense of escalating drama.
RIYL Lee Gamble, Mika Vaino, Alva Noto, Pole, Mix Mup.
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Boomkat Product Review:
Matt Spendlove follows his Emergence series of Spatial experiments with a debut album on his own Infrasonics label.
‘A Music of Sound Systems’ expands on and deconstructs the algo-riddimic approach of Spatial’s classy Emergence series circa 2015-16, bringing forth a long overdue debut album steeped in meticulous attention to aesthetic detail.
Clearly paying dues to JA and UK system culture, Spatial also seeks out the artistic abstraction of El Lissitzky, a key figure in the geometrically-inclined Suprematism movement in early 20th Century Russia. He conflates concepts explored through musique concrète and the Darmstadt School, reducing their ideas down into a gloopy, amorphous whole that craftily creeps under your skin.
Implementing stereo panning to grant his music a tactile, structural quality, Spatial’s experiments have dub at their very root but he’s always looking to draw you in from different directions.
Each track here is like its own little microcosmic universe created by Spatial, whether it’s the chasmic void of sub bass and unsettling ripples of opener Doping Conductor or the deep Lissitzkian bleep abstraction of Proun. The latter is one of several extended productions where Spatial utilises the duration to really build a sense of escalating drama.
RIYL Lee Gamble, Mika Vaino, Alva Noto, Pole, Mix Mup.
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