Music for a river and for passers-by — Klangpark 2001 transforms the park on the banks of the Danube into an impressive acoustic environment. With his electronic sound designs developed especially for this occasion, the young Scandinavian musician Vladislav Delay once again puts his fascinating digital mode of musicality on display. His tonal stylings initially seem diametrical. Only the key signatures have something in common: reduction, abstraction, transcoding. The persuasive distinctions of his various sound-aesthetic personae have made the electronic autodidact and ex-drummer a regular fixture in the much-sifted-through no-man’s-land at the nexus of electronica, dub and house.

Music for a river and for passers-by — Klangpark 2001 transforms the park on the banks of the Danube into an impressive acoustic environment. With his electronic sound designs developed especially for this occasion, the young Scandinavian musician Vladislav Delay once again puts his fascinating digital mode of musicality on display. His tonal stylings initially seem diametrical. Only the key signatures have something in common: reduction, abstraction, transcoding. The persuasive distinctions of his various sound-aesthetic personae have made the electronic autodidact and ex-drummer a regular fixture in the much-sifted-through no-man’s-land at the nexus of electronica, dub and house.