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Groove Magazine Review Fhloston Paradigm The Phoenix

Groove Magazine Review Fhloston Paradigm The Phoenix

Written on . Posted in Blog

GROOVE Magazine GROOVE Magazine Review

GROOVE MAGAZINE

Fhloston PARADIGM

The Phoenix

(Hyperdub)

7.23.2014

“Those will be potentiated by the, also from Philadelphia singer Pia Ercole, who sings haunting operatic on tracks like ‘Tension Remains’ or ‘It’s All About’ hums and breathes. Her voice seems to be a secret pact with the grooves and sounds to be received, because it is not a cumulative addition. Rather, it operates as a further, detailed but not fully costed inserted instrument.”

Space Is The Place : King Britt , DJ, producer and label owner from Philadelphia, where a musical stylistics was never enough, is back with its approximately 2009 launched Project Fhloston Paradigm back. His gloomy rumbling album The Phoenix conjures musical science fiction and has everything a special plate needs: the courage to experiment, deepness that requires no cheerfulness to display their magic, and rhythmic characteristics that first move inside the body and then the extremities . Ambient, Acid, broken beat, hip-hop, soul, techno and Jazz go here as the parent coordinate system hand in hand and are united under a gloomy, atmospheric blanket.

Fhloston Paradigm was initially intended as a live project that combines human voices, electronic music and analog synthesizers to an extraterrestrial vibrating work of art.

Coupled with the belief in the science of exobiology has now produced an enchanted sonic journey of the former co-founder of the House labels Ovum, for a particularly fine facility with a detailed sound image you wish for. Because especially in the spaces between the rhythms and sounds makes the old buddy of Josh Wink created a suction effect, the laptop speakers or MP3 player does not really reproduce.

Those will be potentiated by the, also from Philadelphia singer Pia Ercole, who sings haunting operatic on tracks like “Tension Remains” or “It’s All About” hums and breathes. Her voice seems to be a secret pact with the grooves and sounds to be received, because it is not a cumulative addition. Rather, it operates as a further, detailed but not fully costed inserted instrument. So do the others, only occasionally occurring vocal guests as the composer Marlo Reynolds, a native of Portland singer Natasha Kmeto or the Paris-based Australian pianist and soul singer Rachel Claudio.

For Britt even Fhloston paradigm is a recent manifestation old Afro-futuristic ideals, nestled in a contemporary electronic sound. He tries ideas of avant-garde vocal improvisation with jazz, oscillating ambient and sometimes more, sometimes less to weave kickin ‘club music styles. The result so is an adventurous album that perfectly classifies itself the label Hyperdub between the publications of Laurel Halo, and Fatima Al Qadiri Ikonika.

Text: Michael Leuffen

English (Translation)

German (Original)

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