Tag Archives: Minotaur Shock

Switched On – Minotaur Shock: It All Levels Out (Bytes)

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by Ben Hogwood

What’s the story?

It All Levels Out is described as ‘a hopeful meditation on getting older’ by its composer, David Edwards. This is Edwards’ tenth album under the Minotaur Shock pseudonym, and by common consensus is his most personal and reflective album to date.

Influences on his compositional approach this time around are quoted to be Hiroshi Yoshimura, Steve Reich, West Mineral Limited, Visible Cloaks and Bark Psychosis.

Edwards describes his music as an acceptance of finally knowing yourself, an approach of equal parts ambience and confidence.

What’s the music like?

This is music where the mind can immediately kick back – though it still rewards close-up listening. Edwards works with a refreshing palette of textures and colours, using quite minimal riffs to power his music but giving them room to grow as the tracks evolve.

Because of that it’s easy to equate his music with living, growing plants – which the title track embodies, with the way it expands gradually from soft, primitive beginnings. The ambling piano is like an easily moving stream.

As the album progresses we get more of Edwards’ subtly voiced creativity, from the melodic ideas that take root on Memory Crates, which is more bleeps and dots, to the brightly lit activity on Moral Progress.

Recognise You Anywhere takes time out, Edwards evoking dappled light through colourings that certainly sound more Japanese in origin, especially when they grow in stature. Molding Physical Air enjoys a similar profile, while Launching The Kids carries greater weight. The closing With Me is initially darker but ultimately wistful.

Does it all work?

It does. Edwards is a subtle companion, shading each piece of music rather beautifully with layers of carefully chosen instrumental colour. When you stand back, you can appreciate the whole as well as the construction.

Is it recommended?

It is, enthusiastically. It’s great to have Minotaur Shock back, and the pastoral overtones of this album are beautifully weighted and suited for this time of year, extending their tendrils into the northern hemisphere autumn.

For fans of… Bibio, Boards of Canada, Baths, Grasscut

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Published post no.2,342 – Friday 25 October 2024

On Record: Minotaur Shock: Qi (Bytes)

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reviewed by Ben Hogwood

What’s the story?

David Edwards returns under his Minotaur Shock pseudonym with Qi, a six-part suite recorded on an Electron Digitone synthesizer. The idea of recording an extended set of pieces on a single piece of equipment seems to be catching on during lockdown, providing inspiration for a number of bedroom-based musicians, yours truly included!

What’s the music like?

Enjoyably instinctive. Edwards was very reluctant to go back to the tracks once recorded, delivering each in one or at most two takes. It means that the music-making is very much ‘in the moment’, and ensures the cells of melody that Minotaur Shock works with are kept fresh in their development.

As Qi unfolds it becomes clear that Edwards actually has an embarrassment of ideas, many of them flavoured with late 1980s and early 1990s techno and all of them linking together beautifully. The mood is friendly but on occasion heavier grooves punch in, so that tracks like Qat and QCD impress with their inventive breakbeats. The latter floats in on the wind like a set of chimes before some nice crossrhythms set up an unexpected but rather stately chorale.

Qui, the first track, shows how substantial these structures can become, leading to a swirling snowstorm of a loop where the keyboard carries all before it. Qis, the glittering closing section, and Qua are largely without percussion, but still have a natural rhythmic momentum.

Does it all work?

Yes. Edwards keeps things moving, nothing outstays its welcome, and the rich well of melodic inspiration continually pushes out new ideas.

Is it recommended?

Heartily. Minotaur Shock is very much on form here, with a warm-hearted half hour of electronic invention to enjoy.

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