Parisian downbeat mystic Dang-Khoa Chau marks a decade of subtly distinctive productions for 12th Isle, Good Morning Tapes, Second Circle and Melody as Truth with his most spacious, sensuous album thus far, tipped if yr into Jon Hassell via Alberto Iglesias, Enya, Chuquimamani-Condori.
‘Spiral Shape’ is D.K.’s third release via his own clandestine Worship imprint, who previously hosted his lowkey jams with Sabla, and a smart side by Eszaid. Its eight tracks are practically beatless, foregrounding a feel for dappled scenery and intoxicating sound design that’s been a hallmark since his earliest releases for Antinote.
Fleetingly comparable to 4th world ambient as much as immersive 1st player computer game scores, the work is personalised by D.K.’s runs of extended, melancholic thought, woven in mid-air via ephemeral Vietnamese percussion and wind instruments that land exquisitely light on the mind. The sense of weightlessness is key to ‘Spiral Shape’s allure, and can be heard to mirror veins of grime and cloudrap instrumentals in its rhythmic nuance, in the same way that original 4th world ambient abstracted threads taken from jazz and rap.
We’re struck by similarities between opener ‘Promised Land’ and the way Elysia Crampton (Chuquimamani-Condori) summoned their Indigenous South American heritage in their earliest non-sample based works, whilst ‘Nocturnal Silence’ finds Dang-Khoa pushing farther than ever into puristic 3D sound design with tantalisingly plasmic results, before he turns the spirit quest darker with ‘Lights in the Mist’, and ultimately with a superb closing couplet of Enya-like synths and string motifs on ‘Under the Stones’, and air-carving flute calligraphics in ‘Lost Horizon’.
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Edition of 100, comes with a download of the album dropped to your account.
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Parisian downbeat mystic Dang-Khoa Chau marks a decade of subtly distinctive productions for 12th Isle, Good Morning Tapes, Second Circle and Melody as Truth with his most spacious, sensuous album thus far, tipped if yr into Jon Hassell via Alberto Iglesias, Enya, Chuquimamani-Condori.
‘Spiral Shape’ is D.K.’s third release via his own clandestine Worship imprint, who previously hosted his lowkey jams with Sabla, and a smart side by Eszaid. Its eight tracks are practically beatless, foregrounding a feel for dappled scenery and intoxicating sound design that’s been a hallmark since his earliest releases for Antinote.
Fleetingly comparable to 4th world ambient as much as immersive 1st player computer game scores, the work is personalised by D.K.’s runs of extended, melancholic thought, woven in mid-air via ephemeral Vietnamese percussion and wind instruments that land exquisitely light on the mind. The sense of weightlessness is key to ‘Spiral Shape’s allure, and can be heard to mirror veins of grime and cloudrap instrumentals in its rhythmic nuance, in the same way that original 4th world ambient abstracted threads taken from jazz and rap.
We’re struck by similarities between opener ‘Promised Land’ and the way Elysia Crampton (Chuquimamani-Condori) summoned their Indigenous South American heritage in their earliest non-sample based works, whilst ‘Nocturnal Silence’ finds Dang-Khoa pushing farther than ever into puristic 3D sound design with tantalisingly plasmic results, before he turns the spirit quest darker with ‘Lights in the Mist’, and ultimately with a superb closing couplet of Enya-like synths and string motifs on ‘Under the Stones’, and air-carving flute calligraphics in ‘Lost Horizon’.