Wisp delivers an amazing set at Warehouse Project

It never seems appropriate to say of an artist that they are 'the new such and such', especially when this 'such and such' is still headlining sold out nights at 2000 capacity venues, but with the comparison I'm sure many are drawing up between Rephex's most recent success, Wisp, and the man himself, Aphex Twin (aka, Richard D James, Analord, AFX… etc) seems not without merit.

Firstly, Wisp's music can definitely sit comfortably in the plethora of names that have arisen in attempts to define the music of Aphex: Braindance; IDM; Ambeint; and all variety of combinations of words like 'Acid' and 'Tech' that I don't think I'll ever understand. Certainly, though, his music is similar in that it's very danceable but also intellectually stimulating and imaginative in its use of sound and painstakingly complex production.

Secondly, he can be compared in terms of pro-activity. The sheer number of releases since 2004 is ridiculous, seeming to suggest that when Wisp’s career is as old as Aphex Twin's, his discography will be similarly tending towards the uncountable.

Finally, having mentioned the style and quantity of their work, something has to be said for the quality; which is consistently high. Especially his latest release, the second for Rephlex records, 'The Shimmering Hour', which has met huge acclaim online. It was a shame, then, that he didn't feel the need to play any songs from this masterpiece during his set. Considering this is his newest release I was certain the set would be, if not dominated, certainly peppered with tunes from it. 'Cultus Klatawa' would have been particularly appropriate, but alas, it was not to be.

That aside I can get on with writing about how, despite this minor disappointment, his set was still amazing. As I mentioned above, the multitude of excellent music that has spilled from his brain onto disk over the past 15 years is colossal, meaning even those who are familiar with more of his earlier releases are bound to have not recognised many of the tracks he played. This puts everyone in equal stead, in that they are all experiencing something new. I imagine this is why 'The Shimmering Hour' did not play a part in his set, and for this reason, he is forgiven.

The music he did play was still distinctly his own; intricate breaks spattered over eerily nostalgic 8-bit game influenced melody, which was just amazing to hear on the WHP system. It really is a different thing to listen to this music at home. It is quite entrancing and beautifully complex, lending itself to quiet sessions of concentration. While out, however, and with the helpful boost in low end sound, it lends itself perfectly to the kind of mindless dancing associated with less thoughtful music. Wisp gave a perfect example of what people mean when they use the term 'Braindance'.

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