Irresistible Force

(Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso )
Flying High 7.5/10
Global Chillage 7/10
It's Tomorrow Already , 5/10
Dreamfish , 4/10
Dreamfish 2 , 3/10
Quiet Logic , 5/10

L'intellettuale che spinse a unificare ambient house e elettronica d'avanguardia e` Mixmaster Morris Gould, un disc jockey Britannico che si conquisto` un posto nella leggenda con il suo "Mongolian Hip Hop Show", trasmesso da una radio privata nel 1985. Nel 1987 esordi` il suo progetto Irresistible Force, a cui fecero seguito rave all'aperto in tutta Europa, a cominciare da quel "The Madhouse" (1988) che molti ritengono il primo evento techno dal vivo a Londra. Il suo show domenicale al Dogstar di Brixton, al quale invitava i pesi massimi del techno Britannico, divenne leggendario (nonche' gratuito).

Nel frattempo uscivano i singoli I Want To/Guns (Red Megaphone, 1988), Freestyle (Greedybeat, 1989), Space is the Place (Rising High, 1990) e Underground/ Flow Motion (Rising High, 1991 - Instinct, 1993).

Dopo aver collaborato con Shamen e Orb, diede alle stampe il doppio Flying High (Rising High, 1992 - Instinct, 1993), in cui si ispirava a Harry Partch, Karlheinz Stockhausen, Brian Eno, Steve Reich e Tangerine Dream. Spiritual High (7:47), Sky High (12:11), Flying High (15:33), High Frequency (9:42) spiegano la sua filosofia filo-allucinogena alla Terence McKenna e Symphony in E (8:47) testimonia delle sue ambizioni di compositore.
Jakub Krawczynski writes:

The Irresistible Force's Flying High and Symphony in E sample (in a modified and distorted way) portion of Spacemen 3's Ecstasy.

Spudoratamente ballabile e` invece la title-track dell'EP Underground (Instinct, 1994).

Ambient house was given artistic depth by pioneers such as Irresistible Force, the project of disc-jockey Mixmaster Morris (Morris Gould). Flying High (1992) was inspired by avantgarde composers such as Harry Partch and Karlheinz Stockhausen, and was reminiscent of Brian Eno, Steve Reich and Tangerine Dream, while revealing affinities with Terence McKenna's hallucinogenic metaphysica. Global Chillage (1994) showcased both the psychedelic factor and the (almost baroque) producer's skills, thus wedding the postmodernist aesthetics of assemblage and acid-rock (after all, his suites were merely a new take on the old form of the free-form jam).
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Global Chillage (Rising High, 1994 - Astralwerks, 1994) e` diventato un classico dell'ambient dance. dimostra soprattutto le qualita` del produttore. The seven impeccable, extended trances of Global Chillage (Rising High, 1994 - Astralwerks, 1994) showcase mainly the producer's skills.
The psychedelic factor is prominent in the 14-minute suite Natural Frequency, a concert of disjointed polyrhythms that propels an intense "om"-like prayer, a carnival of ever mutating timbres, an absurdist ballet of chirping androids, a sort of parody of Terry Riley's In C.
But Morris is more interested in the postmodernist aesthetics of assemblage. Snowstorm is an elegant essay in the process of destructuring a simple melody and turning it into a feast of stormy beats It takes seven minutes and scores of synthesizers before the wild metal machine music of Waveform coalesces into a middle-eastern dance for caravans in the desert, and the remaining five minutes scientifically undresses it of all its musical elements until only a shapeless noise is left.
The looping patterns are abused in Downstream, chill-out music inspired by cosmic music, replete with galactic dissonances, but the piece is almost avantgarde. Moonrise is an even more abstract painting.
Morris' sense of humour is evident in a few self-parodying moments. A magma of hallucinatory drones initiates the pulsing base of Sunstroke, but the rhythm decomposes in a chaotic industrial beat that harbors a loop of easy-listening "ba-da-ba-da-ba" vocals.
The album has little to do with dance music and even less with techno in particular, but advanced the understanding of how electronic music can be incorporated in rock structures. After all, this album's suites are merely a new take on the old form of the acid-rock jam.

In Gran Bretagna ha partecipato cinque volte al Glastonbury Festival. In Germania ha partecipato alla Berlin Love Parade (il piu` grande evento techno del mondo) per sei anni consecutivi. Negli Stati Uniti ha partecipato al "Even Further" (1996), al Full Moon party nel Mojave Desert, al Plantasia rave di San Bernadino. In Giappone ha suonato al gigantesco Rainbow 2000 rave sul sacro Mt Fuji.

Come giornalista, ha aiutato a emergere un'intera generazione di musicisti techno.

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Mixmaster Morris has also collaborated with Pete Namlook on Dreamfish (1993) and Dreamfish 2 (1995) and on Quiet Logic (Daisyworld, 1998) with Jonah Sharp of Spacetime Continuum.

It's Tomorrow Already (Ninja Tune, 1998) is a mediocre imitation of his early albums and of a multitude of other styles, with rare highlights (Nepalese Bliss, It's Tomorrow Already, Fish Dances).

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