Dream Walker
CARLOS GIFFONI
Dream Walker
Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
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Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
No Fun founder Carlos Giffoni reappears in a cloud of dense, blueish smoke with 'Dream Walker', an all-hardware, synth-laced meditation that's billed as a response to European electronic music traditions. Strong gear tipped to anyone into early Oneohtrix, Emeralds, or even Lasse Marhaug, who produced the album.
Giffoni's been relatively quiet over the last few years. 'Dream Walker' is his first album since 2018's iDEAL-released 'Vain', and only his second since 2010. Those with a long memory will recall the days of his legendary No Fun Fest, when he was firing out cacophanous collaborations and splits with artists like Keith Fullerton Whitman, Merzbow, Jim O'Rourke, Lasse Marhaug, Smegma, Lee Ranaldo, Marcia Bassett and countless others. It was a trip to the GRM festival in Paris last year that prompted Giffoni to get back on the saddle; he was inspired by sets from old friends like Marhaug, O'Rourke and Eiko Ishibashi, so put together a reply, firing up his arsenal of old synths and working out a "love letter" to the music he loves - particularly European electronic music. The title itself comes from the artist's process, where he would attempt to enter into a trance state and let his subconscious take over, "to put a touch of otherness in the mix".
The most languid material Giffoni has ever produced, 'Dream Walker' is a million miles from the ragged guitar 'n laptop noise of his earliest gear, or the squelchy outsider techno of his No Fun Acid recordings. As soon as we're introduced to the cautiously overdriven sustained tones that open 'Now Dream', it's clear that his head's in a different zone - one that's not only indebted to the Berlin school (Tangerine Dream, Klaus Schulze, et al) but the raft of revivalists who orbited No Fun Fest, such as Emeralds and OPN. But Giffoni's take isn't overly reverential; the rugged synth tones are shaped into astral suggestions that guide us through his hypnagogic state. On 'Saltos', the melodies that haunted its predecessor have been eroded into dust that vibrates around tense, oscillating waves of course sound. It's ambient music, of a sort, but neither punishingly dark or overly light, operating in an otherworldly liminal zone that draws as much from power electronics as it does the kosmische canon.
And although 'Sleep Walker' harmonizes with Oneohtrix's woozy 'Russian Mind', Giffoni offsets the celestial atmosphere with a serrated low-end hum and crackly, saturated feedback tones - the kind of half-heard dream-state biz that Kevin Drumm perfected on 'Imperial Distortion'. As the album drifts int its second half, Giffoni reclines even further, elongating a choral moan into a looming throb on 'One Breath' and corrupting reverberating artificial horn blasts on the chilly 'Lost in Descanso'. It might be music for dreams, but there's nothing sweet about 'Dream Walker'. Giffoni's dreams are labyrinthine, etched with cryptic messages and confounding asides that'll keep you guessing and going back for more.
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