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Techno - Publicado el 6 de abril de 2018 | Phantasy Sound - [PIAS]

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Promovido por la crítica al rango de nueva sensación del techno británico en 2013, cuando apareció su primer álbum, Drone Logic, Daniel Avery se convertiría después en una estrella dentro del circuito de la dance music europea, formando habitualmente parte de las programaciones de los mejores clubs y festivales, y en especial del célebre club londinense Fabric, del que sería uno de sus principales emblemas. Tras pasar los últimos cuatro años encadenando una gira tras otra, nuestro productor ha tenido a bien por fin grabar su nuevo larga duración en un estudio a orillas del Támesis. Y en él enfila nuevos derroteros.“Drone Logic cambió mi vida. Comencé a girar sin descanso por todas partes. Lo cual es genial, porque me encanta mezclar, pero se me hacía complicado encontrar tiempo para la producción.” Al contrario que los temas dirigidos a las pistas de baile de su primer proyecto, este Song for Alpha, mezclado por su mentor Erol Alkan, factótum del sello Phantasy con el que volvió a coincidir en las célebres sesiones Trash, se abre con un corte ambient, First Light, para proponer a continuación el más hipnótico y onírico viaje en Stereo L. Los kicks de Projection y Sensation parecen conducirnos, sin embargo, a algún oscuro club del Detroit de los 90, aunque para sumergirnos enseguida en un océano de cromatimos delirantes, que parecieran inspirados por Brian Eno, en temas como Citizen//Nowhere, Days from Now, Embers o Quick Eternity, concluyendo el trayecto con una demostración de elegancia sonora que parece salida de la más cinemática banda sonora. Y de este modo se promociona como compositor de scores, puesto que Song for Alpha supone una perfecta tarjeta de visita en caso de ser necesitado por algún realizador de prestigio. © Smaël Bouaici/Qobuz
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Electrónica - Publicado el 24 de junio de 2021 | Phantasy Sound - [PIAS]

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Daniel Avery's Together in Static consists of material he composed for a pair of seated, socially distanced concerts at the Hackney Church in London. Continuing a prolific streak for the artist, it arrives the year following a collaboration with Alessandro Cortini (Illusion of Time) and the surprise-released solo effort Love + Light. Even more so than his other albums, this is decidedly a reflective set designed for home listening, with much of the material in ambient or downtempo mode. A thumping industrial techno track called "Yesterday Faded" appears early in the program, and its tough, craggy beats are surrounded by soft, atmospheric synths like a layer of mist partially obscuring a massive iceberg. "Nowhere Sound" is much closer to the Casino Versus Japan/Ulrich Schnauss school of downtempo IDM, with slightly tangy synths shining over slo-mo beats. "Fountain of Peace" seems like an exaggeration of trip-hop, with an absurdly blown-out, hissy drum loop and synths that seem to be reaching deep inside one's soul; the effect is both soothing and bludgeoning. Recalling early-'90s ambient techno at its most melancholy, "A Life That Is Your Own" also has a mystical vibe, but isn't sludgy. "Hazel and Gold" is much sunnier, sounding like an attempt to leave fear and tragedy in the past and look on the bright side. The only other uptempo track on the album, "Endless Hours," has more focused, energetic beats than "Yesterday Faded," and overall it seems more determined and motivated. The gorgeous closer "The Midnight Sun" is a straight-up flashback to the Artificial Intelligence era, and without getting bombastic, its optimism seems to outshine the lingering darkness of the rest of the record. Considering how quickly the album came together, it feels like a spontaneous rush to translate the emotions of being away from dance clubs for a year into music, with hope and anticipation winning in the end. © Paul Simpson /TiVo

Electrónica - Publicado el 26 de junio de 2020 | Phantasy Sound - [PIAS]

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Directly following an ambient collaboration with modular synth master Alessandro Cortini (Illusion of Time) and a club 12" with Roman Flügel as Noun (Meeting of the Minds), Daniel Avery finished a solo LP and spontaneously decided to release it with no advance hype. Love + Light touches on several sides of Avery's personality, delivering propulsive dance tracks as well as reflective experiments, and diverting into other modes that he hasn't explored as frequently. "Dusting for Smoke" and "Dream Distortion" are prime examples of the type of hissing, hazy techno he excels at, with heavy, pounding beats and tense, dreamy synth textures, all fine-tuned for major club impact. "Darlinnn" keeps up a steady beat but builds much more gradually, working up to a frothy peak and then simmering down. Surrounding all these tracks are experimental pieces like the distorted drone of "London Island" (echoing his work with Cortini) and the gentle, floating harp interlude "Katana." "Searing Light, Forward Motion" takes things in a much harsher direction, with clattering, distorted breakbeats reminiscent of Christoph de Babalon or DJ Scud, and furious acid synths sounding like an angry robot on the rampage. "Infinite Future" is much more serene, with shoegazey synths gliding over a slightly jittery post-dubstep beat, and other tracks like "Into the Arms of Stillness" and "A Story in E5" dip into swirling, tenderhearted downtempo IDM in the vein of Casino Versus Japan or Freescha. "Fuzzwar" is in a similar vein, yet somehow it's one of the least fuzzy-sounding tracks on the album. Wrapping it all up is "One More Morning," a light, shimmering electro piece perfect for greeting the sunrise. While Love + Light feels a lot rougher than Avery's first two solo albums, and initially takes a few more listens to fully appreciate, it's just as inspired and creative. © Paul Simpson /TiVo
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Electrónica - Publicado el 27 de marzo de 2020 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 7 de octubre de 2013 | Phantasy

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Electrónica - Publicado el 11 de noviembre de 2016 | !K7 Records

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Techno - Publicado el 19 de enero de 2018 | Phantasy Sound - [PIAS]

"On his introspective new four-track EP, SLOW FADE, Avery finds as much drama in the negative spaces as in the concrete forms." © TiVo
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Electrónica - Publicado el 24 de noviembre de 2020 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 1 de septiembre de 2020 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 30 de enero de 2020 | Phantasy Sound - [PIAS]

Illusion of Time is the result of several years' worth of collaboration between techno producer/DJ Daniel Avery and analog synth master Alessandro Cortini (a member of Nine Inch Nails). The two developed ideas remotely, previewing the fruits of their labor with a limited single available at a festival in 2017, then convened in a hotel room while Avery was touring with NIN in 2018, completing the album in a matter of hours. The release is far removed from Avery's hazy, acid-bath techno, but minus the propulsive beats, his frayed, shoegaze-like textures are unmistakable, and mesh well with Cortini's isolated electronics. The album veers between haunting, slightly apocalyptic moodscapes and more reflective moments that are almost soothing, yet there's still an unshakeable sense of melancholy throughout. Illusion of Time's title track is certainly one of its more refreshing pieces, with a gorgeous, Cluster-like keyboard melody drenched in trippy delay, but instead of making it sound clear and cloudless, they cover it in a wash of hiss and distortion. "At First Sight" similarly buries a lonesome yet irrepressible melody in thick fog, like a battered heart that refuses to break down completely. A steady, gentle analog synth pulse frames the lapping waves of feedback during "Enter Exit," and while the track generally feels a bit chaotic but hopeful, "Inside the Ruins" has a similar push/pull effect yet sounds much more desolate and closer to the brink of destruction. Close to the end of the album is "Water," an astonishingly pretty piece of shimmering drone-gaze that originally appeared as the A-side of the duo's 2017 single. (The much darker B-side, "Sun," is sequenced as the full-length's foreboding intro.) Illusion of Time fittingly sounds rougher and more spontaneous than any of Avery's work or Cortini's preceding recordings, particularly his 2019 Mute release Volume Massimo, but its highlights seem to pull divine inspiration out of practically nothing. © Paul Simpson /TiVo
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Electrónica - Publicado el 19 de noviembre de 2012 | Fabric Worldwide

The Daniel Avery timeline has little space between "dance music epiphany" and "first commercial mix." The DJ/producer surfaced with a Little Boots remix in 2009 and crammed a decade's worth of activity into 2010-2012. In 2011, while he was operating as Stopmakingme, Avery gained an evangelist in Andrew Weatherall, who proclaimed that his own club sets were filled with the youngster's productions. In 2012, Erol Alkan's Phantasy Sound label released several Avery productions, some of which appear on Fabriclive 66. One of the most up-to-date mixes in either Fabric series, all but five of its 23 tracks date from 2012. The dizzy Prins Thomas mix of Telephones' "Kanal" and Compuphonic's sweet closer "Sequoia," both of which were released at the end of 2010, are the oldest inclusions. Through and through, this a club set, condensed into 76 slamming and smacking minutes, and it glowingly reflects Avery's approach: blur the lines between techno, house, and electro, and keep it immediate and weird. Tracks from the jacking Nautiluss and the rattling Sneaker (whose handclaps are distorted into firecracker-like FX) surround Avery's slippery, burbling "Naïve Reception," an industrial descendent of Yaz's "Situation." Around the half-hour mark, the Magnets' "Game Theory" fades into near silence and gives way to a repeated announcement ("Noise flies high"), and then the mix kicks into high gear with "Water Jump," one of Avery's meatiest tracks. Avery then stitches a diverse high-energy succession of tracks from veterans -- including Raudive, Miss Kittin, and Kassem Mosse -- as well as relative newcomers. Weatherall himself appears with Timothy J. Fairplay as the Asphodells, whose wobbly "Dry Heat" is the penultimate track. © Andy Kellman /TiVo
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Electrónica - Publicado el 5 de abril de 2019 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 2 de marzo de 2015 | Phantasy

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Electrónica - Publicado el 15 de abril de 2021 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 20 de mayo de 2021 | Phantasy Sound - [PIAS]

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Electrónica - Publicado el 30 de enero de 2020 | Phantasy Sound - [PIAS]

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Techno - Publicado el 1 de enero de 2018 | Phantasy Sound - [PIAS]

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Dance - Publicado el 12 de octubre de 2018 | Phantasy Sound - [PIAS]

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Techno - Publicado el 7 de septiembre de 2018 | Phantasy Sound - [PIAS]

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Techno - Publicado el 9 de marzo de 2018 | Phantasy Sound - [PIAS]