“One of the most captivating and musically gifted young talents on Earth right now” (Tom Middleton)
In a world where harder, faster and more obnoxious is the order of the day, Frederic Robinson deals in complex and nuanced music that displays a maturity of thought far beyond the young German’s 21 years. Disciplined and focused, he stretches genres until the restrictions of tempo lose their meaning and the listener is free to simply experience music rather than categorise it. His intensely intricate sound design, instrumentation and arrangement places him closer to contemporary classical composers such as Steve Reich, Terry Riley or Philip Glass than the more typically accepted gurus of dance music.
In person, Frederic constantly talks of his work as a force for good; a practical belief in the power of music to genuinely affect for the better the lives of the people who hear it:
Since I first started producing, the development process of every one of my pieces has been fuelled by a euphoria which nothing else can give me. It was always my goal to achieve the same effect in the people who listen to my music.
For Frederic Robinson music is not some cynical fast-track to DJ work, transient fame or the faint praise of his peers. Despite having its roots in common dance music this is the exploration of sound and structure beyond the cheap, pyrotechnic tricks of clubland and into a much more intimate space of thought and emotion. Having trained as a classical violinist and now studying audio design in Switzerland Frederic is fixated with the meshing of the organic and the electronic, constantly pushing his instruments in new and unconventional ways to create textures that cannot be found in any off-the-shelf software. Those who remember the early DIY synthesiser-tinkering which gave birth to Aphex Twin’s uniquely haunting sound will recognise the same spirit of innovation in the work of Frederic Robinson.
The music itself is beautiful, both subtle and satisfying. Harmonies rush and swoop, collapsing in on each other amid fractured percussion and sparkling melody, simultaneously muscular and fragile. Motifs appear, become warped then reappear in different forms, helping the music to talk about itself while it shifts through distinct movements of light and shade. It is this fearsome and unique skill in execution which has led Frederic Robinson to the ears of tastemakers across the spectrum, from Gilles Peterson to London Elektricity, and seen a flurry of releases on Hospital Records, Brownswood, BMTM and Med School along with remix work for some of his most promising young contemporaries.
Frederic Robinson’s journey is only just beginning but those with an eye for talent will already have spotted that one of the most potent forces in modern electronic music is already amongst us.
In a world where harder, faster and more obnoxious is the order of the day, Frederic Robinson deals in complex and nuanced music that displays a maturity of thought far beyond the young German’s 21 years. Disciplined and focused, he stretches genres until the restrictions of tempo lose their meaning and the listener is free to simply experience music rather than categorise it. His intensely intricate sound design, instrumentation and arrangement places him closer to contemporary classical composers such as Steve Reich, Terry Riley or Philip Glass than the more typically accepted gurus of dance music.
In person, Frederic constantly talks of his work as a force for good; a practical belief in the power of music to genuinely affect for the better the lives of the people who hear it:
Since I first started producing, the development process of every one of my pieces has been fuelled by a euphoria which nothing else can give me. It was always my goal to achieve the same effect in the people who listen to my music.
For Frederic Robinson music is not some cynical fast-track to DJ work, transient fame or the faint praise of his peers. Despite having its roots in common dance music this is the exploration of sound and structure beyond the cheap, pyrotechnic tricks of clubland and into a much more intimate space of thought and emotion. Having trained as a classical violinist and now studying audio design in Switzerland Frederic is fixated with the meshing of the organic and the electronic, constantly pushing his instruments in new and unconventional ways to create textures that cannot be found in any off-the-shelf software. Those who remember the early DIY synthesiser-tinkering which gave birth to Aphex Twin’s uniquely haunting sound will recognise the same spirit of innovation in the work of Frederic Robinson.
The music itself is beautiful, both subtle and satisfying. Harmonies rush and swoop, collapsing in on each other amid fractured percussion and sparkling melody, simultaneously muscular and fragile. Motifs appear, become warped then reappear in different forms, helping the music to talk about itself while it shifts through distinct movements of light and shade. It is this fearsome and unique skill in execution which has led Frederic Robinson to the ears of tastemakers across the spectrum, from Gilles Peterson to London Elektricity, and seen a flurry of releases on Hospital Records, Brownswood, BMTM and Med School along with remix work for some of his most promising young contemporaries.
Frederic Robinson’s journey is only just beginning but those with an eye for talent will already have spotted that one of the most potent forces in modern electronic music is already amongst us.