Always an experimenter, veteran synthesist Ian Boddy explores the harmonic aspects of electronic music in a trio of download only releases...
IAN BODDY Sepulchre (DDL on DiN)
This release from 2013 features 64 minutes of haunting electronic music recorded live on the StarÕs End radio program (WXPN, Philadelphia) on October 14, 2012.
Delicate electronics escalate from pensive passages into a dynamic melodic display.
The electronics feature a wide range of abstract sounds crafted to evoke an eerie mood of nocturnal mystery. Blooping effects twinkle amid vistas of terse pulsations.
Keyboards are quite rare here; the electronic gist is triggered by dials and knobs, bestowing the tuneage with a very moody demeanor. Tones flow with gritty mannerisms, embellished by auxiliary effects that sparkle with an unearthly flair.
While rhythms are infrequent, a section does present with a mounting tempo accompanied by a strongly melodic thread. This passage flourishes with a sense of drama as it emerges from the abstract milieu to throb and shine with intricately intertwining keyboard chords. Crisp electronic waves surge through the mix, as the dominant riffs crest to formulate a compelling locomotion.
The initial compositions are primarily harmonic, flowing through passages of ethereal definition. Melodies lurk in the mix, but the emphasis is on freeform consciousness as the drones stream together to form structures of dire intention. As the album progresses, a more vibrant melodic presence overwhelms the tuneage, achieving a mesmerizing crescendo before ebbing into a twinkling pastiche of calm definition.
IAN BODDY Liverdelphia (DDL on DiN)
This release from 2013 features 75 minutes of beautiful electronic music.
This music is a melange of material from two concerts: St MaryÕs Church, Philadelphia on October 13, 2012, and Capstone Theatre, Liverpool, on November 10, 2012.
Dreamy electronics conspire with rhythms to produce celestial tuneage.
The electronics blend ethereal tonalities with blooping diodes and fluid keyboards, all devoted to generating heavenly airs. Textural threads establish vaporous backdrops for keyboard riffs of a buoyant nature. Vibrant melodies are crafted along the way, gradually mustering a sense of drama as the music progresses.
Rhythms play a vital role in this music, creating patterns that add oomph while not being intrusive. These tempos undulate in tandem with the lilting electronic riffs, alluringly meshing into a lovely gestalt that flows like a pacific mountain stream. Toward the end of the album, the beats increase in potency, achieving a hypnotic mastery matched by the electronicsÕ vivid intensity.
These compositions successfully strive to achieve a heavenly state with majestic electronics. Strong melodies are produced and teased to evolve through passages of tender beauty. With each subsequent section, the musicÕs power increases in drama, until a state of high altitude is reached wherein the resonance trembles with majestic authority.
IAN BODDY/SID SMITH/JANE MOLLOY Other Rooms (DDL on DiN)
This release from 2013 features 94 minutes of primeval electronic music, archival material from BoddyÕs earliest days.
Track 1 is 31 minutes of Boddy live in 1983. Sparkly electronics establish a wavery backdrop for theremin-style effects that evoke a spooky milieu. Sharper, almost piercing elaborations punctuate the flow, denoting spectral manifestations amid the textural pastiche. Synthetic crashes are featured, furthering the ominous disposition of the performance. An assortment of auxiliary electronics (bleeps, pulsations and growling tempos) add crunchy character to the general harmonic piece.
Track 2 features Boddy and Smith performing a Smith composition in 1980. Electronic treatments abound in this piece, altering the demeanor of the processed bass resonance. A selection of urban environmental recordings drift through the mix.
Track 3 features Boddy and Molloy performing in 1980. What you have is MolloyÕs voice doing non-lyrical chorales, while Boddy manipulated treatments and accompanying electronic background texturals.
The last track is Boddy solo from 1979/80. Here, the mood is droney with cathedral overtones. Organ tonalities are seasoned by grinding effects designed to lend depth to the otherwise airy disposition of the tune.
An interesting glimpse into BoddyÕs formative years.
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