“I suppose it’s more an aesthetic, than a sound,” is the simple answer that Caden Moore gives when asked why someone with his talent would choose to identify LAKE R▲DIO with the world’s most unwelcome genre.  Once the kid that Witch House didn‘t want, he started up his own netlabel (with fellow outcast necromancers GuMMyBE▲R! and H△UNT3D HOUS3) to distribute his music.  His first EP Blair, made the ▲rchim▲ges on the Bo▲rd of Direc†ors scratch their heads in bewilderment.  Why was it they didn’t want him in the first place?!?

Perhaps Witch House is the right fit though.  Anyone who has taken the time to check out the bedroom IDM blogs knows full well that Babel Fish must have some serious issues regarding the translation of both intelligent and dance. Blair is both, as well as an early sign that Witch House was about to switch styles as it sought to find its own true voice.  Still slow and dark, LAKE R▲DIO’s glitchy drag would not sound out of place on a 1999 Warp compilation, a far cry from the Flexipop facsimile of other artists at the time.

With two EPs and a full-length already under his baneful belt, it is no surprise that Moore chose to send a remix of Scottish pioneers Boards of Canada‘s “Julie and Candy” (off their seminal masterwork Geogaddi)  Almost proto-drag itself, Moore’s take on it actually speeds things up a little, yet manages to morph the vocal samples into a creepy creepy crawl.

Instead of trying to understand [their] music I began making my own collection of drones, sounds, and clanks. In my music I try to cast the same spell on others that Geogaddi cast on me the first time I listened to it. Satan did not help make Geogaddi, but if he did, I doubt it would sound much different.

Take the above from his accompanying email with the remix, our own IDM trickster stresses the importance that Boards’ music has had on his own development.

- Nattymari