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Be Still My Bleeping Heart

Digitonal

Be Still My Bleeping Heart

...neo-classical electronic pioneers
TAO035 (Just Music)
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Studio Master

FLAC 24bit 44.1kHz 722.2MB $24.00

Studio Master

ALAC 24bit 44.1kHz 679.1MB $24.00

CD Quality

FLAC 16bit 44.1kHz 341.0MB $13.00

CD Quality

ALAC 16bit 44.1kHz 345.0MB $13.00

MP3

MP3 320k 44.1kHz 147.9MB $11.00
Prices shown in US Dollars



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Tracks: Listen and Download

Format
Track Time Listen Track Price
1
Come And Play

Come And Play

Writer Andrew Dobson
Arranger Andrew Dobson
05:47 Play $3.40
2
Snowflake Vectors

Snowflake Vectors

Writer Andrew Dobson
Arranger Andrew Dobson
04:51 Play $1.70
3
Overline

Overline

Writer Andrew Dobson
Arranger Andrew Dobson
04:12 Play $1.70
4
Seraphim (Angel Mix)

Seraphim (Angel Mix)

Writer Andrew Dobson
Arranger Andrew Dobson
07:40 Play $3.40
5
Cantus V

Cantus V

Writer Andrew Dobson
Arranger Andrew Dobson
06:33 Play $3.40
6
Antares (Yuri's Mix)

Antares (Yuri's Mix)

Writer Andrew Dobson
Arranger Andrew Dobson
05:29 Play $3.40
7
Cuetips

Cuetips

Writer Andrew Dobson
Arranger Andrew Dobson
03:40 Play $1.70
8
Vearth

Vearth

Writer Andrew Dobson
Arranger Andrew Dobson
04:29 Play $1.70
9
Maris Stella

Maris Stella

Writer Andrew Dobson
Arranger Andrew Dobson
06:18 Play $3.40
10
Drencrom

Drencrom

Writer Andrew Dobson
Arranger Andrew Dobson
09:53 Play $3.40
11
Amberkreiss

Amberkreiss

Writer Andrew Dobson
Arranger Andrew Dobson
05:26 Play $3.40
Total Running Time 64 minutes Purchase all tracks 
$13.00 
Prices shown in US Dollars

Drawing comparisons to Orbital and Steve Reich, the pioneering neo-classical electronica duo's tenth year sees the release of this retrospective album.

Download includes - cover art

As much as the recording's musical roots brush 20th century minimalism and ambient electonica, it also extends much further back to the clean uncluttered lines characteristic of Early music, particularly vocal plain chant and early polyphony. 

Digitonal’s music was conceived as an attempt to apply electronic and computer derived techniques to modern – particularly minimalist – classical themes and performances.

"As a concept this is a pretty basic thing," he admits. "I would go home after clubbing in the early to mid 90s and typically play a mixture of The Orb, Future Sound Of London, Orbital and then Steve Reich, Philip Glass and Michael Nyman. I felt it was a genre where I could collate a massive range of influences and musical signatures. And I always wanted to work with classical musicians."

At its worst, bedroom electronica in the 90s was clichéd and frustratingly limited, because the musicians didn’t have either the capability or the nous to structure music in anything other than the most basic formats. But Dobson’s attention was caught by Warp’s landmark Artificial Intelligence compilations, the complex, teeming worlds of Future Sound Of London’s Lifeforms, and especially by The Black Dog and their offshoot Plaid, whose tunes like 'Angry Dolphin' were harmonically totally different to everything else out there.

After early experiments with a string quartet, he eventually found what he was looking for in a fortuitous meeting with violinist Samy Bishai in 2001. In the wrong hands, a mixture of classical music and electronica could have yielded an awkward fusion, but the duo manage to thread a delicate line of strong emotional intelligence rarely found in electronica and much more in keeping with the music's classical underpinnings.


"Beautiful" The Guardian

"Cinematic anthems featuring multi-tracked strings and majestic melodies" Uncut

"A heavenly overture ... sweeping bows and tumultous builds ... If the bass doesn't get you then the throb of the cello will"
Music OMH

“a slowburning atmospheric beast...shimmering wth a yearning romanticism. heartbreakingly lovely” Rock Sound

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