品番:HUIP-1039 価格: 税込2,300円(税抜2,190円) フォーマット:CD 発売日:2008年1月11日
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In A Sense A Flowers
Nothing Against The Ocean
Tracks: 01. In a Sense a Flowers 02. An Infinite Marathons 03. Ear Response Abilities 04. Nothing Against The Ocean 05. Almost Nearly Drowning 06. From Within Its Ocean (The Flooded Village) 07. X Pans The Width Of Fragile At Ease 08. Where Some Nerve Ends...
http://www.myspace.com/setinsand
"Nothing Against The Ocean" is the debut CD of Set In Sand, licensed by Hue (JAPAN) from Abandon Building Records (US). Set in Sand (one of the many aliases of producer Lendin Hopes) was brought into this world around 2000, originally designed as a purely electronic and instrumental project working within the nether-regions of IDM.
In this new album, Lendin has synthesized all the elements of his early work into a weird piece of sonic experimentation masquerading as a sort of Pop album. Half of the albums 8 songs feature vocals, a surreal blend of androgynous singing and hyperactive MC work. The music is based around skeletons of guitar and programmed beats with multiple layers of digital nonsense wrapped around them. A most distinct touch is Lendin's use of live drums in complimentary patterns over the grounding electronic percussion. It results in a blurring mesh of chaotic calm, establishing a kind of fresh voice in the world of beatmaking. In other words it's pretty decent stuff
Set in Sand Biography:
Set in Sand emerged from the midwest's experimental electronic scene in the late 90’s, crafting a sound light-years beyond the minimalist techno aesthetic that dominates the ever so cleverly named “intelligent dance music” sub genre. By combing elements as diverse as Steve Reich-esque sculptures of found sound and hip-hoppish boom bap style beats with the sharp digital textures and densely programmed insanities of IDM pioneers like Autechre and Aphex Twin, Set in Sand forged a unique and genre blending style all its own.
Pushing its boundaries one step further, Set In Sand began evolving its subtle attempts of combining instrumentation with electronic music beyond the isolated guitar riff or drum sample into a full on band orientation. Utilizing equal parts of folk, indie rock, and world music, Set In Sand delicately balances the slow dynamic build of post rock with classic prefusion jazz melodies generated by guitars, horns, and keys over an electronic framework of glitches and vocal samples.
Set in Sand’s newest metamorphosis turns its back on a prodominantly instrumental past, and tosses vocals into the mix. Perhaps even harder to pin down than the music behind them, Set In Sand’s appalachian-meets-avant guarde vocal entities run the gambit from mentally unstable singer/songwrighter to smart ass nerdy emcee. The lyrical content seems half stream of conciousness, half elaborate storytelling, displaying attributes of artists like Devendra Banhart, Steven Malkmus, and Dose One. In short, Set in Sand is a constantly changing project, one that defies the listeners’ attempt to pigeon hole it. Set in Sand is an open invitation to throw away any preconceived notions of what types of music traditionally overlap with each other, and celebrate the beauty of diversity.
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