By Marc Weidenbaum

Extravagantly opaque, willfully vaporous Aphex dual s chosen Ambient Works quantity II, published via the estimable British label Warp documents in 1994, rejuvenated ambient song for the net Age that used to be simply dawning. within the usa, it was once his first complete size on Sire documents (home to Madonna and Depeche Mode), which helped herald Richard D. James, for whom Aphex dual is yet certainly one of various monikers, as a big strength in tune, digital or otherwise.

Faithful to Brian Eno s definition of ambient song, chosen Ambient Works quantity II used to be deliberately practical: it offered relax rooms, the sanctuaries amid excessive raves. Choreographers and movie administrators started to hire it to their very own ends, and within the intervening many years this historical past track got here to the fore, tailored by way of classical composers who reverse-engineer its fragile textures for functionality on acoustic tools. at the same time, 'ambient' has moved from esoteric sound paintings to significant guiding principle of on-line tradition. This e-book contends that regardless of a name for being beat-less, the album exudes percussive interest, supplying a sonic metaphor for our technologically mediated period of numerous synchronized nanosecond metronomes.

Mentioned on LineOut. The If you're already partial to Aphex dual, you'll enjoy Weidenbaum's deep dive into one of many artist's signature works. If now not, you'll be shocked to profit that you've most probably already heard his song in a single shape or one other. -- S.T. Vanairsdale

The urban ( the 'extravagantly opaque, willfully vaporous' chillout room masterpieces of digital composer Richard D. James, aka Aphex dual -- primarily what all people within the Nineteen Nineties listened to as they swept up/came down after the rave -- get the company from incisive SF author and archivist Marc Weidenbaum. and very, the pairing couldn't be from now on scrumptious. -- Marke B. San Francisco Bay Guardian

About the Author
Marc Weidenbaum based, that's thinking about the intersection of sound, artwork, and expertise, in 1996. A former editor of Tower files Pulse! journal, he's written for Nature, Boing Boing, and the web site of The Atlantic. He s commissioned compositions from such musicians as Scanner, Steve Roden, and Stephen Vitiello, and lectures at the position of sound within the media panorama. He lives in San Francisco.

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Additional resources for Aphex Twin's Selected Ambient Works II (33 1/3 Series)

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The thought of the imminent annihilation of the hated opponent elevates his passion to feelings of triumph. There are no obvious signs of any opera seria clichés in Beethoven’s setting. Nevertheless, one can register several expressive means typical for the musical vocabulary of hate: terse declamation, emphatic sound and large intervallic leaps in the singing voice, tremolo and sforzandi in the orchestra. The suggestive violin figure at the beginning is developed from the notes of the diminished seventh chord, and the eruption of Pizarro’s feelings of triumph is pictured musically by the shift from D minor to D major.

The most famous part of the myth, of course, is the story of Orpheus’s descent to the underworld. He ventures into the gloomy realm of Hades to impel the god of the dead to release his beloved spouse Eurydike, who had died of a poisonous snakebite. By singing and playing on his instrument, he succeeds in impressing the penitents, pacifying the infernal hound Kerberos, moving the Erinyes to tears and even softening the heart of Hades himself. Eurydike is freed, on condition that Orpheus must not look back at her before their return to the world of the living.

1655-60). The Hague, Mauritshuis The sumptuously attired Saul and the young harp-playing David are both presented in semi-profile. The healing force of music is suggested by the gesture of the king, who with his left hand pulls the curtain to his face in order to dry his tears. Biblical themes were popular not only in painting but also in music of the 17th century. 9 The subject of the second of these sonatas is the Saul-David story. Kuhnau was famous both as a composer of piano music and as a scholar.

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