We've updated our Terms of Use. You can review the changes here.

Misfits

by Icarus

supported by
KERLEY
KERLEY thumbnail
fentanylover
fentanylover thumbnail
Dito Chikovani
Dito Chikovani thumbnail
belb
belb thumbnail
Matt Cargill
Matt Cargill thumbnail
Robin Foster
Robin Foster thumbnail
69fwd
69fwd thumbnail
Alex Fiennes
Alex Fiennes thumbnail
10SHUN
10SHUN thumbnail
grebenshyo
grebenshyo thumbnail
Michael Terren
Michael Terren thumbnail
nomisterJ
nomisterJ thumbnail
soniccyrus
soniccyrus thumbnail
thumbnail
Tadhg O'Connell
Tadhg O'Connell thumbnail
/
1.
Nine Fresian 07:46
buy track
2.
Dolphin Lylic 05:58
buy track
3.
Kipperkun Scratch 03:39
buy track
4.
Xot Zoiks 06:17
buy track
5.
Skate Glug 06:49
buy track
6.
Elephant Kiosk 06:10
buy track

about

Ollie Bown and Sam Britton produce their fourth long player after 2001’s ‘Squid Ink’ (Output Recordings). The result of too much moving house and not enough continuity, ‘Misfits’ is a minimally-arranged mini LP made with two laptop computers in a vacuum. The artists were not present and neither was the DAT machine.

The motivation behind ‘Misfits’ as a project came about as a result of ‘Squid Ink’, a detailed exploration into microphonically-minded and rhythmically upfront electronica and roughly speaking the natural continuation of Icarus’s first two albums in it’s exploration of detailed arrangements and recording/sampling abstractions.

Jazz has always been a great influence on Icarus’s approach to production, and although ‘Squid Ink’ never explicitly shows off its interest in the genre stylistically, it is very much concerned with notable expressions and symbols of communication that characterise jazz improvisation. ‘Misfits’ is essentially a process whereby Icarus have begun to consolidate what their interested in the notion of improvisation with regard to how this appeared in recorded form.

‘Misfits’ was created through a variety of games used to abstract context and compositional technique in such a way that the components of each piece are in some sense autonimous (being composed in seperate locations or at different times) but nevertheless linked by a kind of discriptive grammar (175bpm split across various boundaries including rhythmic/percussive, melodic/harmonic, tonal/atonal, structured/free). The intention being to inform the music’s content without being prescriptive over it’s structure and in this sense take on some of the subjective values of improvisation whist still retaining a compositional objectivity. The improvisation – like the music – is not live, not in ‘real time’ as such, but is jammed nonetheless in some pseudo-temporal space.

"The idea was not necessarily to deconstruct the way we make music, but to re-work the way in which electronic ‘records’ are made, which in many cases could be seen to have become an all to obvious and often simplistic process", says Sam.

"Finally, the ‘label’ isn’t applicable. We are putting out music as Icarus direct through distributors, and without any major concentration on press. This may change, but for the moment it reflects our sentiments towards the possibility of a more weightless system of musical industry… "Things are looking up for the natives of planet E; music is still here, and its availability in the form of small shiny circles may be outmoded but is still relevant nonetheless.

BANZAI!

credits

released July 10, 2002

license

all rights reserved

tags

about

Not Applicable image

Not Applicable London

NA are: Britt Hatzius, Isambard Khroustaliov, Lothar Ohlmeier, Maurizio Ravalico, Ollie Bown, Oliver Duckert, Rudi Fischerlehner & Alex Bonney

contact / help

Contact Not Applicable

Streaming and
Download help

Redeem code

Report this album or account

Not Applicable recommends:

If you like Misfits, you may also like:

Bandcamp Daily  your guide to the world of Bandcamp

On Bandcamp Radio

Frayle's Gwyn Strang and Sean Bilovecky join the show to talk about their cathartic new album.

 listen now