Tag: ambient music

New Video: JeGong Releases a Slow-Burning and Meditative Visual for Atmospheric “Sowing dragons Teeth”

JeGong is a new krautrock-inspired, experimental act featuring MONO (Japan)’s and Watter’s Dahm Majuri Cipolla (drums) and Sum of R.’s Reto Mäder (synths). Slated for an October 16, 2020 release through Pelagic Records, the duo’s 14 song full-length album I reportedly finds the band using krautrock to push themselves, and their songwriting approach into new territories — with the album’s material featuring elements of ambient, experimental rock, krautrock, post rock and electronica. The end result is an album centered around ambient soundscapes and repetition that sounds like the soundtracks to Blade Runner and Metropolis.

The album was written and recorded remotely with Mäder recording instrumental parts at Hinterzimmer in Bern, Switzerland and Cipolla recording drums at BC Studio with Martin Bisi, where it was partially mixed. Additional mixing took place in Finland with Jaakko Vitalähde.

“Sowing Dragons Teeth,” I’s latest single is a minimalist, slow-burning and atmospheric track centered around repeating shimmering synth lines, taut yet propulsive drumming, gurgling and hissing feedback and subtle blasts of guitar. The track sounds as though it should be part of John Carpenter-like movie soundtrack — but while featuring subtly morphing throughout the entire song, “We wanted to have a song that is constantly changing in form and density. A song structure like a maelstrom or a growing plant focusing on our two main instruments, analog synthesizers and drums, the members of JeGong explain in press notes. “The theme of the song goes well with the film scene in Blade Runner 2049, in which a meager little flower in a field of ashes becomes a sign of hope.”

The recently released video for “Sowing Dragons Teeth” is the second part of a trilogy focused don a dystopian world that collapses and is eventually recreated by another species with a monolith as a memorial for the previous world.

New Video: Kaituhi Teams Up with Napkey on a Nostalgia Inducing Single

Kévin Vergobbi is a classically trained, French multi-instrumentalist and producer, who first started off playing with several different rock bands including PHOTO, MS&TW and currently BALM. Vergobbi’s solo recording project Kaituhi, which means “the scribe” finds the French multi-instrumentalist and producer creating work that’s a decided departure from his previously recorded output — centered around a much more melancholic emotional range, the project specializes in escapist and ambient synth pop. 

Vergobbi’s seven song, Benjamin Cholet and Augustin Bretillard-co-produced EP Taratahi is slated for a September 2020 release through Pschent Music. “Divine,” Taratahi’s latest single is a slow-burning and cinematic track centered around shimmering synth arpeggios, thumping beats and Justine Rousseau’s plaintive and ethereal vocals. At its core, is an achingly wistful nostalgia for something that seemed much simpler and peaceful. 

The recently released video is set around a very simple concept: an old Commodore 64-like computer in some overgrown grasses. And on the screen, we see various space missions — although at one point, everything turns into wild psychedelic colors: the grass turns purple and then switches back to its normal color. 


Late last month, I wrote about Los Angeles-based composer and electronic music producer Will Thomas. Thomas is best known as the creature mastermind behind the collaborative recording project Dive Index and the minimalist, solo recording project Plumbline, with which he has released several albums, including two collaborative albums with ambient music composer Roger Eno. The Los Angeles-based composer has also written scores for film, modern dance pieces and has developed sound installations.

Now, as you may recall, Thomas’ fifth Dive Index album Waiting at Airplanes is slated for a May 29, 2020 release through Neutral Music. Deriving its title from the overly optimistic and childlike act of seeking the fleeting attention of passing strangers for the sake of sheer connection, the album will reportedly continue Thomas’ long-held thematic interest in exploring both the human condition and the condition of humanity. But while also touching upon missed connections, artificial intelligence, contentment, the beauty of the desert and our dire and uncertain political and social climate. The album finds Thomas continuing his ongoing collaboration with with Daughter Darling‘s Natalie Walker and critically acclaimed English multi-instrumentalist Merz.

Thomas reportedly set specific parameters to the material’s overall sound and construction, sourcing almost every sound heard on the album, including percussion from modular synthesizer with the exception of some piano, acoustic guitar and the occasional extraneous sounds — a nail gun and jackhammer, in particular — that managed to leak into the studios and recordings, and were embraced on as part of the album’s material.

The visceral and intimate album single “Window to Window” was centered around Natalie Walker’s gorgeous and achingly expressive vocals, twinkling keys, shimmering synths and thumping low-end was full of regret over lost moments, blown opportunities, the passage of time and the inevitability of mortality while nodding at Portishead and Tales of Us-era Goldfrapp. The album’s latest single “Near Enough” continues Thomas’ long-held reputation for crafting minimalist soundscapes — this time centered around shimmering and gently undulating synths, stuttering beats, hospital like blips and bloops, and Merz’s plaintive vocals. Revealing a deliberate and almost painterly approach and quality reminiscent of Radiohead‘s Amnesiac, “Near Enough” is a mediative song that evokes the longing for connection and meaning that we all struggle with at some point or another.

Best known for being the frontman of New York-based indie act Wild Pink, singer/songwriter and multi-instrumentalist John Ross is also the creative mastermind behind the ambient and electronic solo recording project Eerie Gaits. Ross’ Eerie Gaits’ full-length debut, 2017’s critically applauded Bridge Music was inspired by driving over bridges. And under the Eerie Gaits moniker, Ross released a digital 45 with Dondadi in 2018 — and last year, as Eerie Gaits, Ross remixed Wild Pink’s “All Some Frenchman’s Joke” on the 5 Songs EP.

Slated for a Friday release through sound as language, Ross’s highly-anticipated sophomore album Holopaw derives its title from Holopaw, FL, the unincorporated community near where Ross grew up. Because Holopaw is technically not a town, village or even a hamlet, it’s administered under the jurisdiction of Osecola County, rather than its own municipality. And as a result, the 5,000 or so people who live in Holopaw don’t have a local government to call their own with its residents living in a liminal space between established community, odd backwater and remote hinterland.

Aesthetically, Holopaw‘s material bears an uncanny similarity to its namesake: untied to genre and unmoored from singular temperament. The album’s nine instrumental compositions undulate and ripple around arrangements that feature strummed guitar, contemplative and atmospheric synths and full-bodied yet placid indie rock, similar to what he has written with his primary gig.  Ross explains that Holopaw is “darker and more joyful at the same time.”

Interestingly, Holopaw‘s second and latest single is the incredibly cinematic and upbeat “The Rainbow Trout and the Wicker Creel.” Centered around shimmering and atmospheric  synth arpeggios, rolling drums, strummed guitars, “The Rainbow Trout and the Wicker Creel” is a contemplative track that evokes rippling and undulating water — and while intimate, possesses a widescreen and cinematic air.


Mike Slott is an acclaimed singer/songwriter, multi-instrumentalist, composer, beatmaker, and producer who has released material as as solo artist under his own name, as well as a member of the mediative project Mirror Mirror, Heralds of Change with Hudson Mohawke and Lesser Pieces with collaborator Diane Badie. As a solo artist, his Lucky 9Teen EP has been considered one of the most seminal releases in the post-Dilla age of instrumental beat music, while establishing his sound and approach: delicate and ethereal electronics with quivering samples.
Slott’s forthcoming solo effort Vignettes EP can trace its origins back to 2011: Slott first wrote the material as part of a live re-scoring of Russian director Andrei Zvyagintsev’s 2003 debut film The Return, which he performed at that year’s Edinburgh International Festival.  Serving as Slott’s return to his old label home, LuckyMe Records and his first release on the label in over a decade, the EP places the material in a different context — but without stripping it of its mesmerizing and shimmering beauty and its cinematic quality. The EP’s first single is the slow-burning and atmospheric “Simple Dreams for Simple Days.” Centered around shimmering and slowly morphing synths, “Simple Dreams” manages to bring Brian Eno to mind while evoking  peaks of springtime warmth and sun slowly appearing through icy cracks.

New Audio: Vancouver Sleep Clinic Releases a Gorgeous Acoustic Meditation on Perseverance

The Brisbane, Australia-born and-based singer/songwriter, electronic music producer and ambient electronic music artist Tim Bettinson is the creative mastermind behind the Brisbane-based recording project Vancouver Sleep Clinic. When Bettinson was just 17-year-old, he rose to international acclaim with the release of his debut EP Winter in 2014. After spending several years of major label purgatory and a concerted effort on his part to reclaim his music for himself, Bettison will be releasing his highly-anticipated sophomore Vancouver Sleep Clinic album Onward to Zion on October 18, 2019. 

Written in Bali, during a period of isolation last fall, Onward to Zion’s material is a decided and purposeful departure from the electronic driven sound and song construction — with Bettison writing much of the album on a $100 nylon guitar bought at one of Bali’s only music stores. “I’d started getting used to making three-and-half-minute songs with a beat and a hook-but the thing is that I don’t really come from making beats,” Bettinson explains in press notes. “I used to busk: that’s where I came from. The whole direction of this album changed for me once I realized I wanted to put the focus back on guitar again.”

Despite the seemingly simplicity of its origins, Bettinson’s sophomore Vancouver Sleep Clinic album is centered around a distinctly collagic sonic palette, encompassing a wide variety of things including ethereal atmospherics, psychedelic synth tones and hazy samples of 60s jazz-pop records. Along with that, the material represents a deliberate tonal shift from last year’s Therapy 1 EP and Therapy 2 EP.  “The Therapy songs mostly came from a place of frustration-just me complaining about the situation I was in back then,” says Bettinson. “When I sat down to think about the new album, I realized I don’t want my discography to reflect bitterness: I want to put something positive into the world. So even though it’s got some darkness, and it’s a bit of an emotional rollercoaster at times, the album is very much coming from a place of love. I’d love for it to leave people feeling re-energized, and ready to just keep pressing on in their own lives.”

“Fever,” Onward to Zion’s third and final single is a gorgeous yet contemplative track centered around shimmering, strummed guitar and Bettinson’s sweetly plaintive vocals. While bearing a bit of a sonic resemblance to Parachutes-era Coldplay, the new single is a decidedly upbeat song focusing on perseverance and survival, ultimately saying that it’s okay to rely on others in your times of need. 

“‘Fever’ is the last song I wrote for Onwards to Zion and the final single to come out,” Bettinson says in press notes. “The timing feels special because ‘Fever’ really embodies the theme of perseverance from across the album and is written for the amazing people in my life that have inspired me and continue to help me press on in this journey.”

With the release of their first two full-length albums 2012’s self-titled debut and 2014’s Adorn, the Canadian experimental pop/ambient electro pop/dream duo You’ll Never Get To Heaven — comprised of Alice Hansen, a classically trained pianist and violinist and Chuck Blazevic, a studio obsessed tone-sculptor and monome performer — quickly received attention nationally and internationally for a staunchly DIY/independent ethos and for lush, deeply textured compositions that are roomy enough for Hansen’s ethereal cooing.

And as a result of their growing profile, they caught the attention of Yellow K Records, the label home of Eskimeaux and Japanese Breakfast, who officially released the band’s third full-length effort Images today. And while the album’s fourth and latest single “White Light” will further their reputation for crafting lush and textured pop, it offers a subtle expansion into their sound as the slow-burning single features gently swirling electronics, twinkling synths and percussion, brief bursts of industrial clang and clatter to create a fever dream-like vibe — in which the narrator and the listener can’t quite discern if they’re completely asleep and or dreaming or awake and hallucinating.

Interestingly, while the Canadian dream pop duo have in the past been rather reclusive,  they’re currently planning their first European and north American gigs to support Images over the course of the Spring and Summer of this year, so be on the lookout; however, in the meantime, if you’re in Ontario over the next few weeks, you can catch them live. Check out dates below.

Tour Dates
03/31/17 – London, ON – First Spiritualist Church
04/07/17 – Toronto, ON – The Baby G
04/16/17 – Ottawa, ON – Le Temporaire
04/18/17 – Sarnia, ON – Refined Fool Brewing
04/19/17 – Hamilton, ON – The Casbah