If you were to look for a method to distinguish one form from another in electronic music, it would be similar to a Turing test. “Does the form of expression exhibit an intelligence that can prove sentience, and, by what means can one discern it to be such?” Christopher Hipgrave demonstrates a positive sonic test score in that it is clear there is design in the sound – he is not merely a software jockey but someone who programs to create sound. Not that he is alone in this area but as it turns out, it creates as much a difference to the reception of music as it does to furniture design.
A software designer who created in this area would be able to give you an evaluation of the approaches to algorithmic composition that Hipgrave utilises in this album. Perhaps they would talk to you about granular synthesis and the state of microsound development. A sound designer would be able to tell you of the sonic immersive qualities and techniques that make this album an advanced and alive contemporary form.
Listening to Day is an act similar to the act of the experience of poetry: it reveals a world of brittle delicacy that the presence of symbols as descriptions are almost enough to destroy that of which is alluded. I can’t quite place why this is or convey it beyond the notion that Hipgrave takes ambient microsound to this space where the rational encapsulation of technique approaches ineffable qualities. As such there seems to be little more to say about the album, it is a bright shimmering rare gem, a pleasure to listen to and a reminder of the great beauty to be created, shared and appreciated in this world.
Innerversitysound
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