Ian Boddy

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Ian Boddy
Born (1959-08-27) 27 August 1959 (age 65) [1]
Origin South Shields, Tyne and Wear, England [1]
Genres Electronic, Ambient, Berlin School
Occupation(s)Musician, composer, record label owner

Ian Boddy (born 27 August 1959) is a British electronic musician and composer. In the early 1980s Boddy began experimenting at an Arts Council-funded studio in Newcastle. This period resulted in three cassette releases on the Mirage label, which showcased Boddy's work with analogue synthesis and tape manipulation. "Images" (1980), "Elements of Chance" (1981) and "Jade". In 1983 Boddy's first LP, The Climb, was released, followed by two more LPs, Spirits (1984) and Phoenix (1986). [2] In 1989 Boddy released his first CD, Odyssey, on the Surreal To Real label, [3] followed by Drive (1991). [4] Following these releases, Boddy founded the Something Else Records label, releasing another four albums, The Uncertainty Principle (1993), The Deep (1994), Continuum (1996), Rare Elements (1997) and reissuing his first three albums and one of his early cassettes, Jade (1992). On Something Else Records he also released three collaborations, Symbiont (1995) with Andy Pickford, [5] Phase 3 (1997) with Ron Boots and Octane (1998) with Mark Shreeve under the name of ARC. A cassette-only release of live recordings between 1980 and 1989 was also available for a short period. In 1999 he founded the DiN Records label. [6] [7]

Contents

Discography

References

  1. 1 2 "Ian Boddy" . Retrieved 13 December 2024 via Apple Music.
  2. Pastor, Edward (1 March 1987). "Synthesistes de tous Pays". Music Video Systems (in French).
  3. "Reviews: Ian Boddy, Odyessy". Waves. November 1991. p. 26.
  4. "Reviews: Ian Boddy, Drive". Waves. November 1991. p. 27.
  5. "Reviews:Symbiont". Cascades (in German). Vol. 6. 1994.
  6. Brenholts, Jim. "Biography: Ian Boddy". AllMusic . Retrieved 16 May 2010.
  7. Dinis, Frederico (2022). "A música eletrónica ambiental: da profundidade sonora aos imaginários da mente". Todas as Artes Revista Luso-Brasileira de Artes e Cultura. 5 (3): 71–73. doi:10.21747/21843805/tav5n3a3. hdl: 10316/111966 .