Music for an imaginary dancefloor
Lina Filipovich
Music for an imaginary dancefloor
Boomkat Product Review:
Blank Mind chase that outstanding ‘Lost Paradise’ comp of lush/dark breakbeat hardcore with Lina Filipovich’s conception of fantasy dance music, sure to attract more ears to the Franco-Belarussian artist after 2021’s debut side of Rachmaninoff meditations.
‘Music for an imaginary dancefloor’ represents the Paris-based Filipovich’s love note to the odder ends of club music, where aspects of experimental classical, drone and ambient bleed into groove-driven function. It’s an idea that has snagged many listeners since the early ‘90s rave phenomenon fractally evolved into its weirder forms, and particularly in the 2010s decade of solve et coagula that produced deconstructed dance music as a sort of parallel to post-punk’s deconstruction/recontextualisation of rock music. Filipovich is explicitly aware of those histories and proceeds to dovetail with current forms of dance music coalescing from the deconstructed club era with a new, post-pandemic purpose of driving chronics in hypnotic arrangements of sounds prized for their sensuousness and purist, trippy aesthetics.
Across the album’s six parts Filipovich follows her nose down the noumenal wormhole in pursuit of grooves familiar to deep, abstract techno, mutant garage, and ambient electro-dub, but foregrounding particular focus on the textural elements that slosh and smear across the lens between a sort of soundtrack for ket-legged models in ‘Catwalk’ to an eerie evocation of Somatic Responses’ custom,, circuit-bent techno in ‘Villain Dot’. She reveals in a tart sort of acrid gunk on the unravelling electro-stepper ‘Omqroid’, and strips it all back to spectral electro hallucinations recalling early Æ with ‘Silver Ghost’, whilst casually dialling up a sense of spangled confusion in ‘999’, and shivering to the teeth-chatter electro of ‘Dusty’.
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Boomkat Product Review:
Blank Mind chase that outstanding ‘Lost Paradise’ comp of lush/dark breakbeat hardcore with Lina Filipovich’s conception of fantasy dance music, sure to attract more ears to the Franco-Belarussian artist after 2021’s debut side of Rachmaninoff meditations.
‘Music for an imaginary dancefloor’ represents the Paris-based Filipovich’s love note to the odder ends of club music, where aspects of experimental classical, drone and ambient bleed into groove-driven function. It’s an idea that has snagged many listeners since the early ‘90s rave phenomenon fractally evolved into its weirder forms, and particularly in the 2010s decade of solve et coagula that produced deconstructed dance music as a sort of parallel to post-punk’s deconstruction/recontextualisation of rock music. Filipovich is explicitly aware of those histories and proceeds to dovetail with current forms of dance music coalescing from the deconstructed club era with a new, post-pandemic purpose of driving chronics in hypnotic arrangements of sounds prized for their sensuousness and purist, trippy aesthetics.
Across the album’s six parts Filipovich follows her nose down the noumenal wormhole in pursuit of grooves familiar to deep, abstract techno, mutant garage, and ambient electro-dub, but foregrounding particular focus on the textural elements that slosh and smear across the lens between a sort of soundtrack for ket-legged models in ‘Catwalk’ to an eerie evocation of Somatic Responses’ custom,, circuit-bent techno in ‘Villain Dot’. She reveals in a tart sort of acrid gunk on the unravelling electro-stepper ‘Omqroid’, and strips it all back to spectral electro hallucinations recalling early Æ with ‘Silver Ghost’, whilst casually dialling up a sense of spangled confusion in ‘999’, and shivering to the teeth-chatter electro of ‘Dusty’.
Boomkat Product Review:
Blank Mind chase that outstanding ‘Lost Paradise’ comp of lush/dark breakbeat hardcore with Lina Filipovich’s conception of fantasy dance music, sure to attract more ears to the Franco-Belarussian artist after 2021’s debut side of Rachmaninoff meditations.
‘Music for an imaginary dancefloor’ represents the Paris-based Filipovich’s love note to the odder ends of club music, where aspects of experimental classical, drone and ambient bleed into groove-driven function. It’s an idea that has snagged many listeners since the early ‘90s rave phenomenon fractally evolved into its weirder forms, and particularly in the 2010s decade of solve et coagula that produced deconstructed dance music as a sort of parallel to post-punk’s deconstruction/recontextualisation of rock music. Filipovich is explicitly aware of those histories and proceeds to dovetail with current forms of dance music coalescing from the deconstructed club era with a new, post-pandemic purpose of driving chronics in hypnotic arrangements of sounds prized for their sensuousness and purist, trippy aesthetics.
Across the album’s six parts Filipovich follows her nose down the noumenal wormhole in pursuit of grooves familiar to deep, abstract techno, mutant garage, and ambient electro-dub, but foregrounding particular focus on the textural elements that slosh and smear across the lens between a sort of soundtrack for ket-legged models in ‘Catwalk’ to an eerie evocation of Somatic Responses’ custom,, circuit-bent techno in ‘Villain Dot’. She reveals in a tart sort of acrid gunk on the unravelling electro-stepper ‘Omqroid’, and strips it all back to spectral electro hallucinations recalling early Æ with ‘Silver Ghost’, whilst casually dialling up a sense of spangled confusion in ‘999’, and shivering to the teeth-chatter electro of ‘Dusty’.
Boomkat Product Review:
Blank Mind chase that outstanding ‘Lost Paradise’ comp of lush/dark breakbeat hardcore with Lina Filipovich’s conception of fantasy dance music, sure to attract more ears to the Franco-Belarussian artist after 2021’s debut side of Rachmaninoff meditations.
‘Music for an imaginary dancefloor’ represents the Paris-based Filipovich’s love note to the odder ends of club music, where aspects of experimental classical, drone and ambient bleed into groove-driven function. It’s an idea that has snagged many listeners since the early ‘90s rave phenomenon fractally evolved into its weirder forms, and particularly in the 2010s decade of solve et coagula that produced deconstructed dance music as a sort of parallel to post-punk’s deconstruction/recontextualisation of rock music. Filipovich is explicitly aware of those histories and proceeds to dovetail with current forms of dance music coalescing from the deconstructed club era with a new, post-pandemic purpose of driving chronics in hypnotic arrangements of sounds prized for their sensuousness and purist, trippy aesthetics.
Across the album’s six parts Filipovich follows her nose down the noumenal wormhole in pursuit of grooves familiar to deep, abstract techno, mutant garage, and ambient electro-dub, but foregrounding particular focus on the textural elements that slosh and smear across the lens between a sort of soundtrack for ket-legged models in ‘Catwalk’ to an eerie evocation of Somatic Responses’ custom,, circuit-bent techno in ‘Villain Dot’. She reveals in a tart sort of acrid gunk on the unravelling electro-stepper ‘Omqroid’, and strips it all back to spectral electro hallucinations recalling early Æ with ‘Silver Ghost’, whilst casually dialling up a sense of spangled confusion in ‘999’, and shivering to the teeth-chatter electro of ‘Dusty’.
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Boomkat Product Review:
Blank Mind chase that outstanding ‘Lost Paradise’ comp of lush/dark breakbeat hardcore with Lina Filipovich’s conception of fantasy dance music, sure to attract more ears to the Franco-Belarussian artist after 2021’s debut side of Rachmaninoff meditations.
‘Music for an imaginary dancefloor’ represents the Paris-based Filipovich’s love note to the odder ends of club music, where aspects of experimental classical, drone and ambient bleed into groove-driven function. It’s an idea that has snagged many listeners since the early ‘90s rave phenomenon fractally evolved into its weirder forms, and particularly in the 2010s decade of solve et coagula that produced deconstructed dance music as a sort of parallel to post-punk’s deconstruction/recontextualisation of rock music. Filipovich is explicitly aware of those histories and proceeds to dovetail with current forms of dance music coalescing from the deconstructed club era with a new, post-pandemic purpose of driving chronics in hypnotic arrangements of sounds prized for their sensuousness and purist, trippy aesthetics.
Across the album’s six parts Filipovich follows her nose down the noumenal wormhole in pursuit of grooves familiar to deep, abstract techno, mutant garage, and ambient electro-dub, but foregrounding particular focus on the textural elements that slosh and smear across the lens between a sort of soundtrack for ket-legged models in ‘Catwalk’ to an eerie evocation of Somatic Responses’ custom,, circuit-bent techno in ‘Villain Dot’. She reveals in a tart sort of acrid gunk on the unravelling electro-stepper ‘Omqroid’, and strips it all back to spectral electro hallucinations recalling early Æ with ‘Silver Ghost’, whilst casually dialling up a sense of spangled confusion in ‘999’, and shivering to the teeth-chatter electro of ‘Dusty’.
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