Ascent first materialised in about 1989 as a development of earlier
solo and collaborative projects of Kingsuk Biswas. It had its roots
in the industrial, experimental music of the late 70s by
way of dub, jazz, punk, funk and the newly emerging acid club scene.
By 2001 he had amassed a large catalogue of published material, and
an even larger one of unreleased stuff. His newly-formed label, no
immortal will attempt to dip into some of this, as well as journey
"I seek a mindful and intuitive approach to sound
rather than one which is overtly intellectual". Whilst still acknowledging
the need for reflection or even analysis, his work maintains a natural fluidity at its
core - an attempt to reconcile the polar opposites of head, heart and
hips. The modes and methods of language deconstruction, tao, and natural systems
theory have been some of the signposts and maps to this terrain.
The original motivation behind his activity was that the use of primitive
music/noise and the process of improvisation and performance could more starkly reveal
a condition of 'possibility' existing somewhere between musician, music + listener.
He also felt that the implicit spirituality of modern urban experience
could be better explored using the familiar technology and
tools of that environment. The music of the time that masqueraded
as 'contemplative' simply pandered to tired clichés of idyllic
fantasy or escapism and didnt resonate, at all, with Biswas'
concrete, suburban background. To this end the music he made was to
become an union of the organic and the electronic at a more fundamental,
structural and linguistic level. The motive was to challenge and deconstruct
the creative assumptions which prevent a more compellingl and lucid form
"Looking forward, its my intention to work with musicians
and artists of all kinds of background. I hope to be able to understand
as much as possible about the relationship between sounds and to integrate all
these different ideas and structures with my particular approach to technology.
To develop new shapes and forms."
David Toop. Luke Vibert. Jon Tye, Plaid. Bernard Purdie. Menace. Talvin
Singh. Kaffe Matthews. David Moufang. Pete Namlook. Deep Space Network.
Mixmaster Morris. Ansuman Biswas. Techno Animal. Jon Hassel. Bill Laswell.
Zakir Hussein. BJ Cole, etc.
debut LP Science, Art & Ritual has been hailed as a classic
of the new techno/ambient music of the mid 90's; late night tantric-shag
TONY MARCUS, I-D
Biswas is feted as a vanguard figure in the area of intelligent techno.
TONY HERRINTON, THE WIRE
individual electronic musicians are few but Biswas is certainly
one of them. This (Science, Art & Ritual) is one of the most
left-field techno albums ever made.
MIXMASTER MORRIS, I-D
meanderings certainly can't be accused of playing safe. Time and again
he pushes sounds, ideas, concepts, motifs just that little bit further,
right to the edge, and in doing so weaves a powerful web of intrigue.
Ascent ploughs an ambient, percussive furrow; rhythms punctuated by
electronic popcorning. Yet lorry loads of soul come wafting through
the machinery - ghostly yet positively uplifting, and so beautiful that
it defies categorisation.
PETE LAWRENCE, ON
CARL LOBAN, GENERATOR