De Leon
De Leon
Boomkat Product Review:
De Leon loosens and re-aligns historic explorations of gamelan and minimalist percussion with lissom results on a new album designed for early-hours dancers or just those levitating at home.
Alum of the short-lived but influential /\\Aught label, and more recently roosting on Mana - the label run by British Library archivist Andrea Zarza and Blowing Up The Workshop’s Matthew Kent - De Leon is a figure who prefers to operate in the shadows, letting his seductively rhythmelodic music do all the talking. This 2nd ‘Untitled’ set follows their 2018 batch with a looser-limbed echo of Daniel Schmidt’s Javanese-American gamelan explorations, as recorded with The Berkeley Gamelan & Mills Student Ensemble, replete with captivating attention to microtonal lilt and metric slosh, at the point where it encounters contemporary electronic music.
The succinct 7-part results dance in and out of traditional/academic/free lines with a compelling flow of energies that sound as though played by a full ensemble in-the-moment, but are actually made up from a combination of samples (by Lucas Deleon Turner, Stephen Parris, and Patrick Lidell) meshed with the artist’s original instrumental performance and subtly clinical post-production by themselves and Geoff Saba. In that context, De Leon echo the post-punk approach of 23 Skidoo as much as Michael Rantas’s studio work with Conny Plank, delving deep into tradition to generate something faithful yet new, and indelibly imprinted with its maker’s touch.
Transposed from humid equatorial zones to their native, arid Tucson, Arizona, De Leon’s gamelan deploys the spherical percussion of Schmidt’s American gongs as depicted on the sleeve) in nuanced permutations ranging from the shapeshifting chamber music of A1 thru Raime-like hunches of A2 and adjunct the likes of Jakarta’s modern day practitioners Uwalmassa on the starker, sinuous trip A4, nimbly stepping off spring-loaded subs in B1 to breathtaking aerial forms in B2 and the prettiest, puckered rhythmelodic patterns of B3, where all his circles bleed most strikingly mellifluous and intricate.
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Boomkat Product Review:
De Leon loosens and re-aligns historic explorations of gamelan and minimalist percussion with lissom results on a new album designed for early-hours dancers or just those levitating at home.
Alum of the short-lived but influential /\\Aught label, and more recently roosting on Mana - the label run by British Library archivist Andrea Zarza and Blowing Up The Workshop’s Matthew Kent - De Leon is a figure who prefers to operate in the shadows, letting his seductively rhythmelodic music do all the talking. This 2nd ‘Untitled’ set follows their 2018 batch with a looser-limbed echo of Daniel Schmidt’s Javanese-American gamelan explorations, as recorded with The Berkeley Gamelan & Mills Student Ensemble, replete with captivating attention to microtonal lilt and metric slosh, at the point where it encounters contemporary electronic music.
The succinct 7-part results dance in and out of traditional/academic/free lines with a compelling flow of energies that sound as though played by a full ensemble in-the-moment, but are actually made up from a combination of samples (by Lucas Deleon Turner, Stephen Parris, and Patrick Lidell) meshed with the artist’s original instrumental performance and subtly clinical post-production by themselves and Geoff Saba. In that context, De Leon echo the post-punk approach of 23 Skidoo as much as Michael Rantas’s studio work with Conny Plank, delving deep into tradition to generate something faithful yet new, and indelibly imprinted with its maker’s touch.
Transposed from humid equatorial zones to their native, arid Tucson, Arizona, De Leon’s gamelan deploys the spherical percussion of Schmidt’s American gongs as depicted on the sleeve) in nuanced permutations ranging from the shapeshifting chamber music of A1 thru Raime-like hunches of A2 and adjunct the likes of Jakarta’s modern day practitioners Uwalmassa on the starker, sinuous trip A4, nimbly stepping off spring-loaded subs in B1 to breathtaking aerial forms in B2 and the prettiest, puckered rhythmelodic patterns of B3, where all his circles bleed most strikingly mellifluous and intricate.
Boomkat Product Review:
De Leon loosens and re-aligns historic explorations of gamelan and minimalist percussion with lissom results on a new album designed for early-hours dancers or just those levitating at home.
Alum of the short-lived but influential /\\Aught label, and more recently roosting on Mana - the label run by British Library archivist Andrea Zarza and Blowing Up The Workshop’s Matthew Kent - De Leon is a figure who prefers to operate in the shadows, letting his seductively rhythmelodic music do all the talking. This 2nd ‘Untitled’ set follows their 2018 batch with a looser-limbed echo of Daniel Schmidt’s Javanese-American gamelan explorations, as recorded with The Berkeley Gamelan & Mills Student Ensemble, replete with captivating attention to microtonal lilt and metric slosh, at the point where it encounters contemporary electronic music.
The succinct 7-part results dance in and out of traditional/academic/free lines with a compelling flow of energies that sound as though played by a full ensemble in-the-moment, but are actually made up from a combination of samples (by Lucas Deleon Turner, Stephen Parris, and Patrick Lidell) meshed with the artist’s original instrumental performance and subtly clinical post-production by themselves and Geoff Saba. In that context, De Leon echo the post-punk approach of 23 Skidoo as much as Michael Rantas’s studio work with Conny Plank, delving deep into tradition to generate something faithful yet new, and indelibly imprinted with its maker’s touch.
Transposed from humid equatorial zones to their native, arid Tucson, Arizona, De Leon’s gamelan deploys the spherical percussion of Schmidt’s American gongs as depicted on the sleeve) in nuanced permutations ranging from the shapeshifting chamber music of A1 thru Raime-like hunches of A2 and adjunct the likes of Jakarta’s modern day practitioners Uwalmassa on the starker, sinuous trip A4, nimbly stepping off spring-loaded subs in B1 to breathtaking aerial forms in B2 and the prettiest, puckered rhythmelodic patterns of B3, where all his circles bleed most strikingly mellifluous and intricate.
Boomkat Product Review:
De Leon loosens and re-aligns historic explorations of gamelan and minimalist percussion with lissom results on a new album designed for early-hours dancers or just those levitating at home.
Alum of the short-lived but influential /\\Aught label, and more recently roosting on Mana - the label run by British Library archivist Andrea Zarza and Blowing Up The Workshop’s Matthew Kent - De Leon is a figure who prefers to operate in the shadows, letting his seductively rhythmelodic music do all the talking. This 2nd ‘Untitled’ set follows their 2018 batch with a looser-limbed echo of Daniel Schmidt’s Javanese-American gamelan explorations, as recorded with The Berkeley Gamelan & Mills Student Ensemble, replete with captivating attention to microtonal lilt and metric slosh, at the point where it encounters contemporary electronic music.
The succinct 7-part results dance in and out of traditional/academic/free lines with a compelling flow of energies that sound as though played by a full ensemble in-the-moment, but are actually made up from a combination of samples (by Lucas Deleon Turner, Stephen Parris, and Patrick Lidell) meshed with the artist’s original instrumental performance and subtly clinical post-production by themselves and Geoff Saba. In that context, De Leon echo the post-punk approach of 23 Skidoo as much as Michael Rantas’s studio work with Conny Plank, delving deep into tradition to generate something faithful yet new, and indelibly imprinted with its maker’s touch.
Transposed from humid equatorial zones to their native, arid Tucson, Arizona, De Leon’s gamelan deploys the spherical percussion of Schmidt’s American gongs as depicted on the sleeve) in nuanced permutations ranging from the shapeshifting chamber music of A1 thru Raime-like hunches of A2 and adjunct the likes of Jakarta’s modern day practitioners Uwalmassa on the starker, sinuous trip A4, nimbly stepping off spring-loaded subs in B1 to breathtaking aerial forms in B2 and the prettiest, puckered rhythmelodic patterns of B3, where all his circles bleed most strikingly mellifluous and intricate.
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Boomkat Product Review:
De Leon loosens and re-aligns historic explorations of gamelan and minimalist percussion with lissom results on a new album designed for early-hours dancers or just those levitating at home.
Alum of the short-lived but influential /\\Aught label, and more recently roosting on Mana - the label run by British Library archivist Andrea Zarza and Blowing Up The Workshop’s Matthew Kent - De Leon is a figure who prefers to operate in the shadows, letting his seductively rhythmelodic music do all the talking. This 2nd ‘Untitled’ set follows their 2018 batch with a looser-limbed echo of Daniel Schmidt’s Javanese-American gamelan explorations, as recorded with The Berkeley Gamelan & Mills Student Ensemble, replete with captivating attention to microtonal lilt and metric slosh, at the point where it encounters contemporary electronic music.
The succinct 7-part results dance in and out of traditional/academic/free lines with a compelling flow of energies that sound as though played by a full ensemble in-the-moment, but are actually made up from a combination of samples (by Lucas Deleon Turner, Stephen Parris, and Patrick Lidell) meshed with the artist’s original instrumental performance and subtly clinical post-production by themselves and Geoff Saba. In that context, De Leon echo the post-punk approach of 23 Skidoo as much as Michael Rantas’s studio work with Conny Plank, delving deep into tradition to generate something faithful yet new, and indelibly imprinted with its maker’s touch.
Transposed from humid equatorial zones to their native, arid Tucson, Arizona, De Leon’s gamelan deploys the spherical percussion of Schmidt’s American gongs as depicted on the sleeve) in nuanced permutations ranging from the shapeshifting chamber music of A1 thru Raime-like hunches of A2 and adjunct the likes of Jakarta’s modern day practitioners Uwalmassa on the starker, sinuous trip A4, nimbly stepping off spring-loaded subs in B1 to breathtaking aerial forms in B2 and the prettiest, puckered rhythmelodic patterns of B3, where all his circles bleed most strikingly mellifluous and intricate.
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