Born in 1980 in Melbourne, Australia, Ben Frost relocated to Reykjavík, Iceland in 2005 and cooperating with dear companions Valgeir Sigurðsson and Nico Muhly, framed the Bedroom Community record label/collective.
His albums, including Steel Wound (2003), Theory of Machines (2007) and BY THE THROAT (2009) meld seriously organized sound craftsmanship with aggressor post-established electronic music, shape-moving physical power with immersive song, concentrated moderation with wild, bursting black metal.
“…The emotional power of Frost's music comes precisely from the stark contrast between extremely basic musical material and the deadly virtual instruments he invents to perform it… This is Arvo Pärt as arranged by Trent Reznor” – Wire Magazine, 2007
Frost consistently teams up with different performers and craftsmen; in the generation of collections, for example, Tim Hecker's Ravedeath 1972 and Virgins, SWANS The Seer, Colin Stetson's New History Warfare and on different Bedroom Community discharges. On the stage Frost has delivered scores for Choreographers including Wayne McGregor/Random Dance, Akram Khan, Gideon Obarzanek/Chunky Move, and German Director Falk Richter. n film he created the score for the Palme d'Or selected Sleeping Beauty by Julia Leigh, and Djúpið by Icelandic Director Baltasar Kormákur (with Daníel Bjarnason). Also, in the visual expressions, where, with craftsman Richard Mosse, Frost voyaged profound past the cutting edges of war-torn Eastern Congo to deliver The Enclave; a multi-channel video and sound establishment that debuted at the Venice Biennale in 2013.
2013 additionally denoted his introduction as an executive with the première of Frost's ﬁrst Opera, in light of Iain Bank's notorious 1984 novel The Wasp Factory.
Since his earliest days, Ben Frost has been captivated by the true to life characteristics of the guitar. His yield to this point has indicated at this, however with Steelwound he puts forth a strong expression of plan.
Discovering his way to a betrayed extend of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003 Frost set up a remote studio at an abandoned lodge ignoring the cold waters of Bass Strait. With a steady twist streaming off the ocean his lone buddy, Frost began chip away at a progression of act of spontaneities that would in the end get to be Steelwound. A couple of months pass by and Frost has advanced back to human progress. He starts altering the masses of treated guitar from the Johanna Beach act of spontaneities and a little while later a topic grabs hold - one that especially mirrors the segregation of the earth where the tracks were made.
Each of the pieces on Steelwound is an epic trip, shaded with a profound feeling of filmic story and recommended exchanges. The textural nature of the works, bound with field recordings and lost vocal parts, portrays out the enthusiastic soundscapes Frost had unwittingly assembled amid his time at Johanna Beach. Every piece is a chipped part in time - an overlooked memory flawlessly rediscovered in a snapshot of contemplation.
School Of Emotional Engineering is a loosely defined ‘band, more of a ‘project’ created by composer Ben Frost. Basically Frost, nearby multi-instrumentalist and specialist Daniel Rejmer, bassist and guitarist Andy Hazel, violin player Russell Fawkus and drummer Jova Albers, School Of Emotional Engineering started initially in Melbourne, Australia as a live expansion of Frost's performance work.
Surveys frequently depict School of Emotional Engineering as ambient or atmospheric, trip-hop, industrial and post-rock. Their debut album is frequently likened with the work of artists such as Icelandic band Sigur Rós or Canadian post-rockers Godspeed You! Black Emperor. There is generally a premonition and instinctive undercurrent that undermines to eat up the unpretentious surfaces and sluggish atmosphere in the music of School Of Emotional Engineering, which irregularly ejects as rigidly cut-up beats, grating catches and impacts of static impedance. The artistic character of School Of Emotional Engineering is produced with resonant subtleties, rambling basslines and live drums. Their introduction collection is basically without conventional tune structures; rather, sit piano themes, rich dividers of guitar and dormant soundscapes articulate the album’s emotional weight.
'Theory of Machines' is the album which is to concrete Frost's name as one of the most interesting and in that, groundbreaking producers in the world today. Frost's primary influence (and sound source...) for the album was Michael Gira's seminal noise-rock band Swans, an influence which bubbles majestically surface on the album's central piece, trickily titled 'We Love You Michael Gira'. The track begins basically enough; moving, cranky integrated tones sitting frightfully alongside shuddering floods of guitar commotion before both offer route to the kind of frosty blip-work that would make Mika Vainio desirous, and after that it hits you; lumps of percussive clamor that enter the sound-field like a serial executioner blasting into the family home, dirty and rough, crude and untamed. The Swans factor isn't lost in this track, it's something that should be played so boisterous that it nearly harms the eardrums for full, instinctive impact and demonstrates as though proof be required that Ben Frost is an uncommon maker who truly knows how to utilize the uproarious as it ought to be utilized. When the album's gorgeous opening track 'Theory of Machines' builds finally into a short, fuzz-ridden climax you truly feel it in full spine-tingling glory, it becomes one of those tracks you simply need to play over and over to re-catch the feeling. The album closes its pneumatic doors with the eleven-minute epic 'Forgetting you is Like Breathing Water', which is as majestic and soulful a piece of electronic music as you could possibly hear. In synthesized tones Frost creates a blissful symphony of machines, a piece of music closer to Michael Nyman or Max Richter than to Autechre of Aphex Twin showing that finally we really have moved on.
This isn't music that is packed into tasteless nothingness, this has dynamic, when the noisy parts hit you, they truly hit you - and for some odd reason this gives the calmer areas significantly more reverberation.
Theory of Machines' is the future of electronic music.
By the Throat is as strong and physically assaultive an affair as the title of this, his fourth albumvalidates. It would be just mostly precise to depict this as a soundtrack to an imaginary horror movie. By the Throat achieves appropriate out of the idea bubble and punches you out of your skin.
Ben Frost works with a blend of gadgets and prepared guitar, wreaking extraordinary sounds from the instrument that you could just accomplish with the intervention of a tablet. He's supplemented and helped here by author Nico Muhly, Arcade Fire drummer Jeremy Gara, all-female Icelandic string quartet Amiina and all-male Swedish metal band Crowpath. Opener Killshot pulls itself crosswise over electronic coals in thick, metal bumps, before offering approach to recreated lupine wails on The Carpathians which themselves offer path to an uneasy, solemn break reminiscent of Arvo Part.
The low-end thunder of approaching danger, be that as it may, appears to be just ever yards away, as the snarls of what could be some goliath feline from Bodmin Moor pawing at the entryway step by step overpower Hibakusja. Diminish Venkman, Part I stands out tunneling cello from the holographic, ethereal choral broadsides hurling in and out like strafing chariots of lead celestial hosts, before the state of mind subsides again, into the on edge, quieted metal of Peter Venkman, Part II.
There's a tinkling subcurrent of stifled movement going through By the Throat, and this surfaces on the misleadingly hackneyed intermission of Leo Needs a New Pair of Shoes. In any case, then the effortless savagery resumes with the end three tracks, Through the Glass of the Roof, Through the Roof of Your Mouth and Through the Mouth of Your Eye, in which musique solid bumps rub and pound and some beast seems to bring forth a couple of bagpipes by method for a finale.
It's most likely no occurrence that By the Throat ought to have been made in Iceland, with its own, solid group of artists who draw on the puzzling energies of a nation whose scene is as discernable and remote as that of the moon.
In 2010 he was picked by Brian Eno as a component of the Rolex Mentor and Protégé program for a time of joint effort, one of the results of which was Sólaris; a re-scoring of the Tarkovsky great for Poland's Sinfonietta Cracovia. The match keep on working together on a scope of activities.
He and Ben Frost, a youthful Australian performer living in Iceland, are the 2010-2011 tutor and protégé in music; in any case, as Frost puts it: “Brian is the sort of expansive, imaginative thinker who could be the mentor to any artist or scientist in any field.”
Eno and Frost invested energy in each other's studios in London and Reykjavik, yet their drawn out exchanges went a long ways past music. At the heart of their collaboration was a common assurance to make the specialty without bounds, before they even comprehend what it will be.
A U R O R A is released on 26 May 2014 in a joint effort with Mute Records. Click here first in a tryptych of movies made for A U R O R A by Trevor Tweeten and Richard Mosse.
Performed by Ben Frost with Greg Fox, Shahzad Ismaily and Thor Harris and to a great extent written in Eastern DR Congo, A U R O R A points specifically, through its solid development, at blinding luminescent speculative chemistry; not with favorable radiant excellence but rather through wrecking attractive constrain. This is no flawless vision of computerized music, it is a messy, boorish offering of interfered with future time where crisis flares enlighten demolished dance club and the confidence of the dancefloor rests in a diesel-controlled generator heaving forward its own termination, eating malodorous fuel so boisterously it undermines to overwhelm the very music it is driving.
On 8 December 2014 has announced a brand new EP, V A R I A N T.
This constrained version EP highlights remixes of tracks taken from the most recent album A U R O R A by British maker Evian Christ (taking after his widely praised Waterfall EP and work with Kanye West); Downward name manager and techno maker Regis (past remix credits inc. VCMG, Terence Fixmer), Good via Air partnered trial craftsman Dutch E Germ (past remix credits inc Fatima Al Qadiri and Mas Ysa); Australian pair HTRK and raster-noton recording craftsman Kangding Ray.
Two years on from his everything overcoming ninth album, Aurora, Ben Frost comes back to Bedroom Community with The Wasp Factory, the soundtrack to his own particular operatic adjustment of the clique make a big appearance novel by late Scottish essayist Iain Banks. Initially appearing at Austria's Bregenz Festival in August 2013 and running for a brief period all through select European settings, The Wasp Factory proceeded with Frost's tease with the universe of theater and execution craftsmanship yet spoke to his introduction trip as a chief.
In unique shape, Banks' novel focuses on the screw-up and psychopathic adolescent Frank living on a remote island in provincial Scotland. Exchanging this to the theater, Frost depicted Frank's portrayal through a progression of female artists, supported with a live string outfit. Exhibited outside of the phase surprisingly, this collection offers an alternate side to Frost, far from the brutal soundscapes of Aurora, and floating towards a hotter thought on the present day traditional sound. Shorn of the visual jolts and setting that accompanies seeing The Wasp Factory performed live, this fifteen-track collection will likely fulfill just the most over the top of Frost adherents. Of which there are bounty.
These different coordinated efforts and partnerships underline Frost's proceeding with interest with ﬁnding methods for comparing music, mood, innovation, the body, execution, content, craftsmanship - magnificence and savagery consolidating and combining the parts and systems of different masterful trains in one place.
Music for Sad Children (2001) – independent