With nanotechnology, technological singularity, and super artificial intelligence being discussed in daunting measures, it’s hard not to conceptualize a future world without extreme ideas. But for Conrad Wedde and his Space World composition, Wedde has a more delicate viewpoint to the balance of science fiction ideals.
Recorded in a tiny room somewhere in Dunedin, New Zealand, Wedde’s ideas of the universe are soft-spoken and welcoming. “Cassandra” is enchanting that could almost be mistaken for a Wyndham Hill New Age fantasy, occupying the song with chiming guitar notes dripping down and only using electronics sparingly. Future minimalist folk instrumental music never sounded so fantastical. It’s as if we have walked into a Futurist utopia.
The album is under 30 minutes long. No moment was spared intricate scrupulation. “Cabby” immediately follows and leads us into a more Orbital-esque landscape of electronic sublimation and Far East philosophy. The only thing missing is the beat, but is easily dismissed by the time-clock notes in succinct rotation. It’s ambient textures is a delight as it is apprehensive, marred by the sounds of blue-collar robotics. It may be the more daunting song on the album.
For the most part, Space World is an oxymoron. It is an escape from technology, marred by the usage of technology to create an artificial environment in our minds. We become the cosmos. “Bamboo” is exotic in nature and translucent in that it reminds us of the bigger picture through natural wonders and the contentment within our own mind. Wedde has found that happy place for us to run to when we need it. “Islands” does the same. More mysterious in nature, and tribal in practice, blurring the lines between ritual and meditation.
The title track ends the exploration much like it began. Acoustic notes remind us that a new world is dawning. New ideas are being explored, and our reach out into the universe is that much greater.