One of the biggest names on the British scene in this day and age, Al Wooton is synonymous with constant surprise. Prolific and with a 360-degree radar, he brings together a marvellous multiplicity of styles as a solo artist. Between techno, jungle, dubstep, and bass music in general, his productions appeal above all to the esotericism he discovers. Surrounded by echoes of Jamaica and Manchester psychedelia, the promise of an eternal shopped & screwed rave is certain. On the publishing side, he’s been working with Trule, where, as well as making his own discs available, he brings together emerging names or those who have been on the fringes for too long. No less important is his participation in Holy Tongue, alongside Susumu Mukai and the magician Valentina Magaletti, in a fine example of a trance exercise.
This immense notion takes Wootton to galaxies that are obviously far away, finding intersections where we wouldn’t think they existed. Without comfort zones, he moves with agility but genuine curiosity around both the dark and the celestial – with all that can be found in between. Less seems to do more, saving resources is a more than conscious choice here to reach a desired zenith. The latest We Have Come To Banish the Darkness and Forest Trilogy has quickly become an essential disc for anyone looking for the most intriguing labyrinths of abstract electronica. Causing immediate stimulation, his music has attracted followers and invitations to radio programmes on key stations such as Balamii or NTS. Earlier this year he released Lifted from The Earth, nine sound sculptures that immerse us in liquid crystals. In short, zero-gravity music, necessary and escapist. A performance that has now become a reality in Lisbon and is more than worthy of an undeniable testimonial. NA
