Daniel Ruane‘s new album Arcs was born from the ghost of his debut album arrhythmia, a beautiful fusion of biological and mechanical sounds which resonate through a dense natural/artificial ambience.
Arcs sees the Manchester producer set foot on hardened territories. Opening up with the dense industrial swing of hard-hitters Witch and Tortoise Shell, Ruane is quick to take a hard left turn into IDM landscapes, running through celestial drum and bass – Genus is a track that particularly stands out – mind-soothing ambient and dreamy electronica. Berlin-based Frenchman smog contributes with an intensely mechanical remix of an unreleased Daniel Ruane tracks and UK producer Inverchoulin closes on a free-form, almost jazz indebted rework of Isometric.
Beyond the outstanding musicality of Ruane’s work, it’s the production value of his work that brings home how brilliant Arcs is. Beats blast out like a flash-ball to the chest and melodies twinkle like firing synapses. Ruane‘s approach to composition resembles a highly complex, but mellifluous narrative containing a plethora of different musical components, this, coupled with a sharp focus on sonic manipulation he drives the uncanny, robotic aesthetic to very new and extraordinary places.
Local Suicide – ‘Arcs’ is your third album, it follows a studio album arrhythmia and ‘The Interpreter’, an album of remixes. The album is based around the concept of Anamnesis. How do you feel the music relates to the concept?
Daniel Ruane – Arcs is an attempt to capture the instances of thought surrounding Arrhythmia but hopefully with a more realized hand. The ordering of the tracks and how they unfold in terms of texture, style and rhythm all try to depict a cyclic motion that returns to the beginning in the noise, during the albums closing moments. With these concepts in mind is how I would relate the album to the concept of revisiting past knowledge.
LSD – Do you feel that anamnesis is an idea you’ve applied to the way you learn? It’s an easy concept to understand but it’s very occult.
DR – I wouldn’t say I think about it consciously at all, however now you mention it there’s one aspect of what I talked about in the previous point that does somewhat apply; since arrhythmia I’ve been chasing the concept of bio mechanistic music and while that was potentially present in Arrhythmia, I found the revisiting of the ideas/concepts allowed them to be executed in ARCS with greater precision.
LSD – The sounds shifts throughout the album, from industrial indebted techno to IDM and ambient. When you’re out playing live, how does this all translate for the dancefloor in terms of keeping a certain sense of tension going?
DR – My live stuff is quickly becoming infected by the former, industrial indebted beat music that you alluded to however the ambient music has its place, normally to dictate the narrative of the heavier stuff and to convey a sense of movement/ shift in space to the audience. Some of the ‘ambient’ pieces tend to also turn into heavy, distorted versions of themselves in the live arena anyway…
LSD – You’re currently based in Manchester which is a culturally vibrant city, with a strong electronic music heritage. Who do you think we should be paying attention to in the underground?
DR – Some personal favourites at the moment are SGNL who I’m working with a fair bit at the moment – he’s from the Permahigh collective based out of Leeds, and definitely my buds over at Traffic – MCR / Youmightnotlikethis. I work closely with another artist called SHAY who’s definitely worth keeping an eye on in the not too distant future…
LSD – What is next on the cards for you?
DR – I’ve been writing a split EP with another musician from the label Oqko, named smog. Hopefully that will be out on wax at the end of the year for you to get – ridiculously excited for this – the whole ep is intense. Got some special things coming up with some fantastic people so keep locked…