(what is) THroNG

...Imagine standing at the edge of the Grand Canyon with your hands over your eyes....
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Imagine standing at the edge of the Grand Canyon with your hands over your eyes. As you slowly, slowly begin to remove your hands, first notice the little whorls in the texture of your skin, register the patterns of the life-lines, and start to take in the light and spectacle that is one of the most awe-inspiring natural wonders on Earth. Now drop your hands, and allow the full impact of the canyon to hit you--the scale, the color, the light, the sudden acute awareness of your own relative smallness as compared to the canyon's relative bigness. This juxtaposition is analogous to the sonic contrast 420bpm is fascinated by. It is, in fact, the primary aim of their singular aesthetic.

To illustrate: free associate various kinds of music in your mind: sweet vocal harmonies, snarling metal guitar, tight R&B bass, orchestral sonorities blended with electronic bleeps and burbles from the latest paracinematic feature, hyperactive super-uptempo jazz, intimate chamber music, or an ancient wax cyclinder recording of a player piano. Tap your fingers and dream these musics dovetailing and cross-pollinating, and you begin to have a sense of what the musicians in 420bpm are going for. Theirs is an approach to improvisation and technology that allows for the roll, thunder, or whisper of the moment to sweep the music in any one of a thousand different directions, embracing extreme contrasts and layers of style and emotion. Listening to 420bpm is a trip; it's like listening to music before it is born, as it exists in the imagination.

When 420bpm plays, fragments of musical genre are recycled and recontextualized from one moment to the next, ideas approach and recede like colorful signposts on a lost highway to the center of a vast, alien musical imagination--after all, the '420bpm sound' is essentially psychedelic. That sound has been called gorgeous, vast, and multi-layered; as well as 'free ambient hypno-trance.' 420bpm aims to forge new sonic relationships by giving each improvisor, in her own right, the ability to manipulate an entire soundscape.

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