Introverted Dancefloor Introverted Dancefloor

CAK106

Sep 25th, 2015

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks. As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.

For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith’s goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area’s “Miura” (Original Mix) turned into Introverted Dancefloor’s “Happiness is such a mess/Pipedream.” If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. “Take it high” seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith’s layering practices show their precision on tracks like “Even if you try” and “Tiger bones,” in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line. One of the record’s most striking features is Smith’s inclusion of certain elements of a song in a neighboring one (vocals from “Pipedream” in “Happiness is such a mess,” a synth line from “Even if you try” in “Always turn your head”) to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.

Tracklisting

1. Happiness is such a mess
2. Pipedream
3. Take it high
4. Dark cloud scene
5. Even if you try
6. Always turn your head*
7. Love,
8. Here, my story
9. Giving up on summer
10. Staking the ground
11. Feeling unsound
12. A golden light
13. Tiger bones
14. Shy away

*Note: “Always turn your head” is not on the vinyl LP tracklisting, but is available digitally via the free digital download that comes with the record.

Audio

Other Info

PRESS CONTACTS
North America: amanda@terrorbird.com
Europe: andy@carparkrecords.com

THE NEW SOUND OF SMITH
• Publicity by Terrorbird
• College radio promotion by Terrorbird
• New project from Bevan Smith (Signer, The Ruby Suns, Involve Records)
• LPs include free digital download of digital and vinyl masters
• Music video for “Happiness is such a mess”
• Vinyl tracklisting does not include “Always turn your head” but is included with digital download

UPCs
LP: 677517010619
Digital: 677517010657

Press Photos

Hi-res TIFF album art:

IDF_Cover_900

Photos by Anna Pendergrast

(click for hi-res images)

kitchen scene   IMG_2061 stretch

intro d birthday cake   intro d fruit shop

 

IMG_2091 falling stretch

Artist Bio

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks. As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Here Smith has marked gestation as a prominent attribute as well, working with hundreds of audio layers to break down and rebuild songs, a process which often occurs over years at a time. This new direction is an exercise in constraint and assimilation, pouring specific dance-oriented influences through two synthesizers, one mic, one filter, and a single effects processor to create music that is, as its title suggests, equally contemplative and motional.