#luoo

Streetfunk Leipzig TEDDY Part Four

Let’s Luoo

Album - Love

Live-Recording of Vladislav Delay remixing MUM at Punkt Festival, Kilden Performing Arts Centre on September 5, 2012. Still, beyond Bang, Honoré and Schwalm, it's clear that Delay—one of a number of musical noms de plume Ripatti uses, depending on the musical emphasis— represented less rhythmic, more experimental territory than his more dance floor-ready efforts as Uusitalo or Luomo. One of the earmarks of the electronic musicians performing at Punkt 2012 was Eno's undeniable seminal influence, but what was equally clear was how each of them had moved on to create personal spaces. There were trace elements of Eno's Apollo: Atmospheres and Soundtracks (Astalwerks, 1983), but largely subsumed into Delay's harsher, more brooding sonics. While the lighting in the Alfaroom was intentionally minimal—the point was, after all, not to consider this as a performance—there was still very effective use of spare lighting throughout the weekend, in Delay's case a bar of soft light that started below his table and rose, gradually, to face level, only to drop and begin the rise again. It was spare but effective in an unobtrusive, almost subconscious fashion. If Delay's other work is more rhythm-based, that didn't mean there weren't occasional pulses to be found here—albeit staggered and jagged. A low-end pulse emerged towards the end of the remix, which Delay slowly began to spread out with unpredictable rests, until the Björk-like voice of müm's cellist, Serena Tideman, was brought in to move this episodic remix to its conclusion. (Text by John Kelman at http://www.allaboutjazz.com) http://www.vladislavdelay.com http://punktfestival.no http://mum.is

Discovered this via Vladislav Delay on Soundcloud. Enjoy!

Live-Recording of Vladislav Delay remixing MUM at Punkt Festival, Kilden Performing Arts Centre on September 5, 2012. Still, beyond Bang, Honoré and Schwalm, it's clear that Delay—one of a number of musical noms de plume Ripatti uses, depending on the musical emphasis— represented less rhythmic, more experimental territory than his more dance floor-ready efforts as Uusitalo or Luomo. One of the earmarks of the electronic musicians performing at Punkt 2012 was Eno's undeniable seminal influence, but what was equally clear was how each of them had moved on to create personal spaces. There were trace elements of Eno's Apollo: Atmospheres and Soundtracks (Astalwerks, 1983), but largely subsumed into Delay's harsher, more brooding sonics. While the lighting in the Alfaroom was intentionally minimal—the point was, after all, not to consider this as a performance—there was still very effective use of spare lighting throughout the weekend, in Delay's case a bar of soft light that started below his table and rose, gradually, to face level, only to drop and begin the rise again. It was spare but effective in an unobtrusive, almost subconscious fashion. If Delay's other work is more rhythm-based, that didn't mean there weren't occasional pulses to be found here—albeit staggered and jagged. A low-end pulse emerged towards the end of the remix, which Delay slowly began to spread out with unpredictable rests, until the Björk-like voice of müm's cellist, Serena Tideman, was brought in to move this episodic remix to its conclusion. (Text by John Kelman at http://www.allaboutjazz.com) http://www.vladislavdelay.com http://punktfestival.no http://mum.is