|bedouin ascent >>|
Biz, 25, also known as Kingsuk Biswas is the one man creative force behind Bedouin Ascent and is yet more ammunition for the anti bangin' techno lobby. Free spirited music which certainly isn't afraid to tread new ground, this would surely appeal to , anyone who respects the sort of pioneering, stance adopted by the like's of Weather Report and Miles Davis in the 70s. Funky, avant garde, experimental 90s mutant jazz, this is brave, unsettling, uncompromising music. The best is yet to come, but this 6 tracker gives some very interesting pointers. [Fly by Night]
of the New Spirit' EP served warning earlier this year - here is a major
new talent reaching out to take new musical and spiritual paths. Bis'
meanderings certainly can't be acused 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.
Yet another string to Rising High's impressive bow.
Musical Express, September, 1995
Vol.2 Issue No.52 September 1995
Bedouin's Kingsuk Biswas is a prime mover in the emergent realm of post-rave electronica that The Wire named "new complexity techno". Basically, this means techno thats neither trancey (you can't dance to it) nor ambient (you can't chill out, either). Instead you listen and boggle at the bizarre audio-sculpture and weird sonic contraptions cobbled together by these bedroom boffins. Eschewing techno's four/four stomp, Bedouin weaves, a mesmerising mesh of drum machine percussion, achieving the kind of body-confounding polyrhythmic density you otherwise only find in drum'dbass; meanwhile, melody is restricted to the sparest filigrees of arpeggiated synth. Somewhere between electro starkness and Brazilian shimmy, Music For Particles" is maxi-minimalism at its best. [SIMON REYNOLDS]
best, Bedouin Ascent's Kingsuk Biswas succeeds in inverting the conventional
hierarchy between rhythm and melody. When he refuses the normal opposition
between percussion as backing and 'proper', structured music, Music
For Particles gets mighty fascinating. Take, for example, "Trace
2", where a Techno-fied breakbeat pattern is allowed to disrupt
itself gorgeously while the simple synthline rises and falls as if it's
been programmed to act as a replacement for the rhythm's usual function
of marking time. Bedouin Ascent's rhythmic sensibilities owe less to
the norms of Tranced-up Techno than to the left-field spirits of improvisation
Magazine - 1995
a vintage year for LPs. We were spoilt for choice, what with the Sea
& Cake, Raekwon, T-Power, Pram, Genius, Springheel Jack, Wagon Christ,
Mobb Deep, Spain, Red Snapper, Patrick Pulsinger, LaBradford, Speedy
J, and plenty more. Yet, with the benefit of hindsight, I'd argue that
the best of the bunch, in terms of durability and inventiveness, has
to be Bedouin Ascent's 'Music For Particles', sadly one of the more
neglected records of the year. I'd also argue that its importance lies
in the fact that it's so elusive: neither jungle nor trip hop, neither
ambient nor dance floor friendly. Also, thankfully, it's not blighted
by the curse of club culture LPs. You know, the dreaded displays of
dilettantism and diversity, where DJs have to prove what open-minded
souls they really are. I mean, look at how bad the David Holmes LP was.
Sure, some like Vibert and Aphex can turn their hand to anything, but
most people just come across as phoney and fickle.
However, Kingsuk Biswas in his Bedouin Ascent guise has come up with something that opens up new diections for electronic music. The Wire have already tried to label it as part of the new complexity, which is obviously a reference to Bis' use of polyrhythms and scattergun beats. Label mate Luke Vibert has said that the insane beats are too much for his head, while others have said they wouldn't know how to even start dacncing to it. Indeed Bis has been particularly scathing about soothing sounds, particularly drum'n'bass' alarming decline into flabby fusion and flotsam. Bis' beat are as broken as they come, but the chances are they owe more to the European avant garde and Indian traditions than Detroit classicism. Who cares? It's simply invigorating, and I can't wait to see where he goes next.
The implication has been that Bis has benefitted from being a cultural outsider, sitting on the sidelines lapping everything up. Perhaps most intriguingly, constant reference has been made to Bis' early exposure to dub, listening to David Rodigan's Roots Rockers on Capital Radio at the end of the '70s. Put that together with Rupert Parkes speaking about how important it was to his musical development listening to Gilles Peterson's earliest shows on Radio London in the early/mid '80s and you can begin tracing the story of specialist radio shows in the London area, before the pirates returned. Other shows worth mentioning are Greg Walker's Soul Spectrum on Capital and Stuart Henry's show on Radio London playing all the mad rockabilly and r'n'b obscurities, with the stripped down energy level easily matching the best of punk. Mind you, just as mental was when the network was given over to the Asian sounds. I never had a clue what they were playing, but it sounded wild. Anyhow, there's some stories to tell there, but none of them have owt to do with why 'Music For Particles' is good. I suppose it's just because I remember those infamous hecklers shouting at Huggy Bear: "Less structure." [Kevin Pearce].
more reviews to follow...