Science, Art And Ritual (30th Anniversary Edition)
BEDOUIN ASCENT
Science, Art And Ritual (30th Anniversary Edition)
Boomkat Product Review:
A totemic part of the ’90s UK techno and electronic soundscaping receives its 30th anniversary garlands; newly restored and remastered from DATs, and expanded with six unreleased cuts sure to swoon backroom dancers...
’Science, Art and Ritual’ (SAR) is exemplary of the machine music innovations that emerged from Caspar Pound’s Rising High label in the early-mid ‘90s. It is also a stellar example of the cross-cultural pollinations that came with successive waves of migrants to the UK in the 2nd half of the C.20th, as Harrow’s Kingsuk Biswas, aka Bedouin Ascent, would meld everything from Jamaican dub to the Indian classical records of his parents’ collections, with a punky, counter-cultural license factored by the possibilities of new technology and the prevailing needs of pie-eyed ravers. It’s a history evident in the music of everyone from H.I.A. to Acen and Muslimgauze that’s been well covered in the annals, but perhaps bears repeating in the wake of recent UK (and broadly speaking, western) politics, even if preaching to the choir. Heavy stuff aside, this album is a dreamy gem, potent and poised with a romantic vision of modernity whose influence seeps forward into the spectrum of today’s leftfield ambient dance music.
Although first issued in ’94, the ‘SAR’ material spans as far back as ’86, with prevailing traces of ‘70s MOR that Biswas absorbed as a kid. It can all heard in opener ‘Ancient Ocean III’, where Keith LeBlanc & Adrian Sherwood’s dubbed big beats are glazed with softer pads and Colourbox’s pop chops, whilst ‘Transition-R’, whilst the purling downbeat suss of ‘He Is She’ engenders a rose-tinted retro-futurism beside the microtonal night light of ‘Lost in Glass’, and those unique tunings inform the crepuscular brain sparkle of ‘August Light’. The 2nd part of ‘Ancient Ocean’ cane heard to mirror Muslimgauze in its depth of spirit and modal groove, and the 23’ expanse of ‘Beyond the 7th Gate’ epitomises Bedouin Ascent’s far-reaching ambient weltanschauung. The previously unheard and bonus cuts are more than filler, extending the bliss into levitating acid architecture with ‘In the Clouds’ and cushioning your gouch-out with 12’ of ‘Mammon’, to half-stepping electro-dub of ‘Thru Water’ and nerve-twirling ambient vignette ‘Composition C for Neutral Space’.
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Boomkat Product Review:
A totemic part of the ’90s UK techno and electronic soundscaping receives its 30th anniversary garlands; newly restored and remastered from DATs, and expanded with six unreleased cuts sure to swoon backroom dancers...
’Science, Art and Ritual’ (SAR) is exemplary of the machine music innovations that emerged from Caspar Pound’s Rising High label in the early-mid ‘90s. It is also a stellar example of the cross-cultural pollinations that came with successive waves of migrants to the UK in the 2nd half of the C.20th, as Harrow’s Kingsuk Biswas, aka Bedouin Ascent, would meld everything from Jamaican dub to the Indian classical records of his parents’ collections, with a punky, counter-cultural license factored by the possibilities of new technology and the prevailing needs of pie-eyed ravers. It’s a history evident in the music of everyone from H.I.A. to Acen and Muslimgauze that’s been well covered in the annals, but perhaps bears repeating in the wake of recent UK (and broadly speaking, western) politics, even if preaching to the choir. Heavy stuff aside, this album is a dreamy gem, potent and poised with a romantic vision of modernity whose influence seeps forward into the spectrum of today’s leftfield ambient dance music.
Although first issued in ’94, the ‘SAR’ material spans as far back as ’86, with prevailing traces of ‘70s MOR that Biswas absorbed as a kid. It can all heard in opener ‘Ancient Ocean III’, where Keith LeBlanc & Adrian Sherwood’s dubbed big beats are glazed with softer pads and Colourbox’s pop chops, whilst ‘Transition-R’, whilst the purling downbeat suss of ‘He Is She’ engenders a rose-tinted retro-futurism beside the microtonal night light of ‘Lost in Glass’, and those unique tunings inform the crepuscular brain sparkle of ‘August Light’. The 2nd part of ‘Ancient Ocean’ cane heard to mirror Muslimgauze in its depth of spirit and modal groove, and the 23’ expanse of ‘Beyond the 7th Gate’ epitomises Bedouin Ascent’s far-reaching ambient weltanschauung. The previously unheard and bonus cuts are more than filler, extending the bliss into levitating acid architecture with ‘In the Clouds’ and cushioning your gouch-out with 12’ of ‘Mammon’, to half-stepping electro-dub of ‘Thru Water’ and nerve-twirling ambient vignette ‘Composition C for Neutral Space’.
Boomkat Product Review:
A totemic part of the ’90s UK techno and electronic soundscaping receives its 30th anniversary garlands; newly restored and remastered from DATs, and expanded with six unreleased cuts sure to swoon backroom dancers...
’Science, Art and Ritual’ (SAR) is exemplary of the machine music innovations that emerged from Caspar Pound’s Rising High label in the early-mid ‘90s. It is also a stellar example of the cross-cultural pollinations that came with successive waves of migrants to the UK in the 2nd half of the C.20th, as Harrow’s Kingsuk Biswas, aka Bedouin Ascent, would meld everything from Jamaican dub to the Indian classical records of his parents’ collections, with a punky, counter-cultural license factored by the possibilities of new technology and the prevailing needs of pie-eyed ravers. It’s a history evident in the music of everyone from H.I.A. to Acen and Muslimgauze that’s been well covered in the annals, but perhaps bears repeating in the wake of recent UK (and broadly speaking, western) politics, even if preaching to the choir. Heavy stuff aside, this album is a dreamy gem, potent and poised with a romantic vision of modernity whose influence seeps forward into the spectrum of today’s leftfield ambient dance music.
Although first issued in ’94, the ‘SAR’ material spans as far back as ’86, with prevailing traces of ‘70s MOR that Biswas absorbed as a kid. It can all heard in opener ‘Ancient Ocean III’, where Keith LeBlanc & Adrian Sherwood’s dubbed big beats are glazed with softer pads and Colourbox’s pop chops, whilst ‘Transition-R’, whilst the purling downbeat suss of ‘He Is She’ engenders a rose-tinted retro-futurism beside the microtonal night light of ‘Lost in Glass’, and those unique tunings inform the crepuscular brain sparkle of ‘August Light’. The 2nd part of ‘Ancient Ocean’ cane heard to mirror Muslimgauze in its depth of spirit and modal groove, and the 23’ expanse of ‘Beyond the 7th Gate’ epitomises Bedouin Ascent’s far-reaching ambient weltanschauung. The previously unheard and bonus cuts are more than filler, extending the bliss into levitating acid architecture with ‘In the Clouds’ and cushioning your gouch-out with 12’ of ‘Mammon’, to half-stepping electro-dub of ‘Thru Water’ and nerve-twirling ambient vignette ‘Composition C for Neutral Space’.
Boomkat Product Review:
A totemic part of the ’90s UK techno and electronic soundscaping receives its 30th anniversary garlands; newly restored and remastered from DATs, and expanded with six unreleased cuts sure to swoon backroom dancers...
’Science, Art and Ritual’ (SAR) is exemplary of the machine music innovations that emerged from Caspar Pound’s Rising High label in the early-mid ‘90s. It is also a stellar example of the cross-cultural pollinations that came with successive waves of migrants to the UK in the 2nd half of the C.20th, as Harrow’s Kingsuk Biswas, aka Bedouin Ascent, would meld everything from Jamaican dub to the Indian classical records of his parents’ collections, with a punky, counter-cultural license factored by the possibilities of new technology and the prevailing needs of pie-eyed ravers. It’s a history evident in the music of everyone from H.I.A. to Acen and Muslimgauze that’s been well covered in the annals, but perhaps bears repeating in the wake of recent UK (and broadly speaking, western) politics, even if preaching to the choir. Heavy stuff aside, this album is a dreamy gem, potent and poised with a romantic vision of modernity whose influence seeps forward into the spectrum of today’s leftfield ambient dance music.
Although first issued in ’94, the ‘SAR’ material spans as far back as ’86, with prevailing traces of ‘70s MOR that Biswas absorbed as a kid. It can all heard in opener ‘Ancient Ocean III’, where Keith LeBlanc & Adrian Sherwood’s dubbed big beats are glazed with softer pads and Colourbox’s pop chops, whilst ‘Transition-R’, whilst the purling downbeat suss of ‘He Is She’ engenders a rose-tinted retro-futurism beside the microtonal night light of ‘Lost in Glass’, and those unique tunings inform the crepuscular brain sparkle of ‘August Light’. The 2nd part of ‘Ancient Ocean’ cane heard to mirror Muslimgauze in its depth of spirit and modal groove, and the 23’ expanse of ‘Beyond the 7th Gate’ epitomises Bedouin Ascent’s far-reaching ambient weltanschauung. The previously unheard and bonus cuts are more than filler, extending the bliss into levitating acid architecture with ‘In the Clouds’ and cushioning your gouch-out with 12’ of ‘Mammon’, to half-stepping electro-dub of ‘Thru Water’ and nerve-twirling ambient vignette ‘Composition C for Neutral Space’.
3 x 12" Bloody Mary Vinyl
Estimated Release Date: 11 October 2024
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
A totemic part of the ’90s UK techno and electronic soundscaping receives its 30th anniversary garlands; newly restored and remastered from DATs, and expanded with six unreleased cuts sure to swoon backroom dancers...
’Science, Art and Ritual’ (SAR) is exemplary of the machine music innovations that emerged from Caspar Pound’s Rising High label in the early-mid ‘90s. It is also a stellar example of the cross-cultural pollinations that came with successive waves of migrants to the UK in the 2nd half of the C.20th, as Harrow’s Kingsuk Biswas, aka Bedouin Ascent, would meld everything from Jamaican dub to the Indian classical records of his parents’ collections, with a punky, counter-cultural license factored by the possibilities of new technology and the prevailing needs of pie-eyed ravers. It’s a history evident in the music of everyone from H.I.A. to Acen and Muslimgauze that’s been well covered in the annals, but perhaps bears repeating in the wake of recent UK (and broadly speaking, western) politics, even if preaching to the choir. Heavy stuff aside, this album is a dreamy gem, potent and poised with a romantic vision of modernity whose influence seeps forward into the spectrum of today’s leftfield ambient dance music.
Although first issued in ’94, the ‘SAR’ material spans as far back as ’86, with prevailing traces of ‘70s MOR that Biswas absorbed as a kid. It can all heard in opener ‘Ancient Ocean III’, where Keith LeBlanc & Adrian Sherwood’s dubbed big beats are glazed with softer pads and Colourbox’s pop chops, whilst ‘Transition-R’, whilst the purling downbeat suss of ‘He Is She’ engenders a rose-tinted retro-futurism beside the microtonal night light of ‘Lost in Glass’, and those unique tunings inform the crepuscular brain sparkle of ‘August Light’. The 2nd part of ‘Ancient Ocean’ cane heard to mirror Muslimgauze in its depth of spirit and modal groove, and the 23’ expanse of ‘Beyond the 7th Gate’ epitomises Bedouin Ascent’s far-reaching ambient weltanschauung. The previously unheard and bonus cuts are more than filler, extending the bliss into levitating acid architecture with ‘In the Clouds’ and cushioning your gouch-out with 12’ of ‘Mammon’, to half-stepping electro-dub of ‘Thru Water’ and nerve-twirling ambient vignette ‘Composition C for Neutral Space’.
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