Ry­oji Ikeda

Bar­bican, Lon­don

The Guardian Weekly - - Culture - Al Horner

Ry­oji Ikeda has waited pa­tiently for the fu­ture to catch up with him. Since his 2005 al­bum Dat­a­plex, the Ja­panese com­poser and vis­ual artist has ex­plored the daz­zle­ment and dark­ness of our dig­i­tal age in elec­tronic works partly gen­er­ated by al­go­rithms and blur the bor­der be­tween mu­sic and maths.

Per­form­ing be­hind a wall of in­tense 3D light pat­terns, his hour­long com­po­si­tion Data­mat­ics [ver 2.0] – re­worked from a piece that de­buted shortly af­ter Dat­a­plex – packs an even heav­ier punch in 2018 than on its first un­veil­ing in 2008.

The re­sult is a work that presents the in­ter­net’s con­stant churn of in­for­ma­tion as an op­pres­sive, un­re­lent­ing rain. More play­ful is a col­lab­o­ra­tion be­tween Ikeda and the Swiss col­lec­tive Ek­lekto that glides through mu­si­cal move­ments fo­cus­ing on sin­gle acous­tic in­stru­ments. Body Mu­sic is a rhyth­mic odyssey cre­ated by two seated per­form­ers clap­ping, while Me­tal Mu­sic III sees four per­cus­sion­ists pro­duce other­worldly drones us­ing cym­bals. It is a melee of me­chan­i­cal rhythms stripped to its essen­tials. The fu­ture was worth the wait.

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.