Dan Abrams' debut Shuttle358 album - originally released in 1999 on 12k - is finally pressed up on vinyl for the first time, just in time for its 25th anniversary. This new edition has been freshly remastered and bundled with three previously unreleased tracks.
When 'optimal.lp' initially appeared, there was a glitch music gold rush as a wave of artists began to exploit unreliable early DAW technology and half-functioning softsynths. Abrams wrote the album while he was at college, working on a laptop with a sound module - he'd write the notes in MIDI on his computer, then play them back through the module and noticed they'd sound different every time, picking up different sonic artifacts. So he based the entire album on this phenomenon, trapping the unexpected sounds and bringing out the peculiar rhythms and odd resonances. 'optimal.lp' is ambient music in its own way - Abrams cites Eno's 'Thursday Afternoon' as a turning point - but it's not entirely beatless. On the weightless 'Next', he turns his pinprick glitches into an uneven rhythm that underpins the warm, melancholy pads, and on the title track, forms scratchy white noise bursts and glassy hits into a dubby, inverted techno pulse.
But the most affecting moments here are when Abrams submits to the kind of harmonic bliss he later developed on 'Frame'. 'Floops', for example, sounds like a euphoric, mind-melted answer to Plastikman's gloomy 'Consumed', with the acidic squelches blotted into wobbly drones, and 'Emergent' is what being dunked in a floatation tank must feel like. With a brand new remaster from LUPO using cleaned up and restored pre-masters from Abrams himself, 'optimal.lp' has never sounded better - or more prophetic.
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Dan Abrams' debut Shuttle358 album - originally released in 1999 on 12k - is finally pressed up on vinyl for the first time, just in time for its 25th anniversary. This new edition has been freshly remastered and bundled with three previously unreleased tracks.
When 'optimal.lp' initially appeared, there was a glitch music gold rush as a wave of artists began to exploit unreliable early DAW technology and half-functioning softsynths. Abrams wrote the album while he was at college, working on a laptop with a sound module - he'd write the notes in MIDI on his computer, then play them back through the module and noticed they'd sound different every time, picking up different sonic artifacts. So he based the entire album on this phenomenon, trapping the unexpected sounds and bringing out the peculiar rhythms and odd resonances. 'optimal.lp' is ambient music in its own way - Abrams cites Eno's 'Thursday Afternoon' as a turning point - but it's not entirely beatless. On the weightless 'Next', he turns his pinprick glitches into an uneven rhythm that underpins the warm, melancholy pads, and on the title track, forms scratchy white noise bursts and glassy hits into a dubby, inverted techno pulse.
But the most affecting moments here are when Abrams submits to the kind of harmonic bliss he later developed on 'Frame'. 'Floops', for example, sounds like a euphoric, mind-melted answer to Plastikman's gloomy 'Consumed', with the acidic squelches blotted into wobbly drones, and 'Emergent' is what being dunked in a floatation tank must feel like. With a brand new remaster from LUPO using cleaned up and restored pre-masters from Abrams himself, 'optimal.lp' has never sounded better - or more prophetic.
Dan Abrams' debut Shuttle358 album - originally released in 1999 on 12k - is finally pressed up on vinyl for the first time, just in time for its 25th anniversary. This new edition has been freshly remastered and bundled with three previously unreleased tracks.
When 'optimal.lp' initially appeared, there was a glitch music gold rush as a wave of artists began to exploit unreliable early DAW technology and half-functioning softsynths. Abrams wrote the album while he was at college, working on a laptop with a sound module - he'd write the notes in MIDI on his computer, then play them back through the module and noticed they'd sound different every time, picking up different sonic artifacts. So he based the entire album on this phenomenon, trapping the unexpected sounds and bringing out the peculiar rhythms and odd resonances. 'optimal.lp' is ambient music in its own way - Abrams cites Eno's 'Thursday Afternoon' as a turning point - but it's not entirely beatless. On the weightless 'Next', he turns his pinprick glitches into an uneven rhythm that underpins the warm, melancholy pads, and on the title track, forms scratchy white noise bursts and glassy hits into a dubby, inverted techno pulse.
But the most affecting moments here are when Abrams submits to the kind of harmonic bliss he later developed on 'Frame'. 'Floops', for example, sounds like a euphoric, mind-melted answer to Plastikman's gloomy 'Consumed', with the acidic squelches blotted into wobbly drones, and 'Emergent' is what being dunked in a floatation tank must feel like. With a brand new remaster from LUPO using cleaned up and restored pre-masters from Abrams himself, 'optimal.lp' has never sounded better - or more prophetic.
Dan Abrams' debut Shuttle358 album - originally released in 1999 on 12k - is finally pressed up on vinyl for the first time, just in time for its 25th anniversary. This new edition has been freshly remastered and bundled with three previously unreleased tracks.
When 'optimal.lp' initially appeared, there was a glitch music gold rush as a wave of artists began to exploit unreliable early DAW technology and half-functioning softsynths. Abrams wrote the album while he was at college, working on a laptop with a sound module - he'd write the notes in MIDI on his computer, then play them back through the module and noticed they'd sound different every time, picking up different sonic artifacts. So he based the entire album on this phenomenon, trapping the unexpected sounds and bringing out the peculiar rhythms and odd resonances. 'optimal.lp' is ambient music in its own way - Abrams cites Eno's 'Thursday Afternoon' as a turning point - but it's not entirely beatless. On the weightless 'Next', he turns his pinprick glitches into an uneven rhythm that underpins the warm, melancholy pads, and on the title track, forms scratchy white noise bursts and glassy hits into a dubby, inverted techno pulse.
But the most affecting moments here are when Abrams submits to the kind of harmonic bliss he later developed on 'Frame'. 'Floops', for example, sounds like a euphoric, mind-melted answer to Plastikman's gloomy 'Consumed', with the acidic squelches blotted into wobbly drones, and 'Emergent' is what being dunked in a floatation tank must feel like. With a brand new remaster from LUPO using cleaned up and restored pre-masters from Abrams himself, 'optimal.lp' has never sounded better - or more prophetic.
Back in stock. First time on vinyl, housed in black poly-lined inner sleeves. Audio remastered by LUPO, including 3 previously unreleased tracks. Also comes with a download of the album dropped to your account.
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Dan Abrams' debut Shuttle358 album - originally released in 1999 on 12k - is finally pressed up on vinyl for the first time, just in time for its 25th anniversary. This new edition has been freshly remastered and bundled with three previously unreleased tracks.
When 'optimal.lp' initially appeared, there was a glitch music gold rush as a wave of artists began to exploit unreliable early DAW technology and half-functioning softsynths. Abrams wrote the album while he was at college, working on a laptop with a sound module - he'd write the notes in MIDI on his computer, then play them back through the module and noticed they'd sound different every time, picking up different sonic artifacts. So he based the entire album on this phenomenon, trapping the unexpected sounds and bringing out the peculiar rhythms and odd resonances. 'optimal.lp' is ambient music in its own way - Abrams cites Eno's 'Thursday Afternoon' as a turning point - but it's not entirely beatless. On the weightless 'Next', he turns his pinprick glitches into an uneven rhythm that underpins the warm, melancholy pads, and on the title track, forms scratchy white noise bursts and glassy hits into a dubby, inverted techno pulse.
But the most affecting moments here are when Abrams submits to the kind of harmonic bliss he later developed on 'Frame'. 'Floops', for example, sounds like a euphoric, mind-melted answer to Plastikman's gloomy 'Consumed', with the acidic squelches blotted into wobbly drones, and 'Emergent' is what being dunked in a floatation tank must feel like. With a brand new remaster from LUPO using cleaned up and restored pre-masters from Abrams himself, 'optimal.lp' has never sounded better - or more prophetic.