Boomkat Product Review:
RVNG Intl deliver a 23-track Beats In Space retrospective. Features music from Paradis, Secret Circuit, Palmbomen II, Lauer, Dukes of Chutney, Tim Sweeney. 2CD housed in 8-panel slipcase
“The radio is a memory machine. It is an airborne exchange of information between celestial host and terrestrial audience. Radio is a medium which configures collective cognition through mass media, harmonizing voice and anonymous ear. The magic of radio exists in its connectivity.
For many in their formative years, this connection occurs within the emancipated preserve of college radio. Beats in Space began and perseveres in this preserve, though its reach now extends beyond campus to wider culture. As a student, Tim Sweeney began broadcasting on WNYU in 1999. Twelve years later, Sweeney created a label under the same name, preserving waveform memories permanently to wax. Paradis’ “La Ballade de Jim,” the first release represented on BIS: 001 – 020, a compilation surveying the first twenty Beats In Space Records releases, embodies the consideration and sophistication a twelve year history lends a label. A driving, memorable bassline; blurred, drifting keys over an interminable sequencer, presented with crystal clear production. Decisively understated, it offers an overwhelming possibility of what is to come.
The bounty of releases beyond range from aquatic slow burners (Dukes of Chutney’s “The Smiling Cheshire”) to sweeping Balearic compositions (Tornado Wallace’s “Desperate Pleasures”), to outrageous expressions of club-generated sublimity (Crystal & S. Koshi’s “Break the Dawn”).
The label’s most recent offerings prey on the heavenly-hearted with House of Spirits’ (the nom de plume of Tom Noble) anthemic “Holding On,” the existential / extraterrestrial acid lovers with Palmbomen II’s self-titled album, and the person who just likes to take ecstasy and dance next to the speaker all night while T & P’s (Tim Sweeney and Phillip Lauer) “Shoot The Freak” sets fire to all synapses. It’s clear what makes these releases harmonious. In keeping with the sensibility coveted by Sweeney during his time on air, there’s an attitude: a little bit rude, but softened with sensitivity. There is a sense of motion, narrative and duration; a dedication to crescendo, a theatricality that never yawns. An appreciation for melody, but not at the expense of propulsive percussive textures.”