Tag: ambient music

New Video: Tomorrow’s Child Shares Melancholic “Spectres of Summer”

High Wycombe, UK-born, Cornwall, UK-based multi-instrumentalist and electronic music producer Tomorrow’s Child creates music that draws from a broad spectrum of influences, surroundings and experiences — in particular, the ugly concrete buildings and garages old his hometown, the sense of failed potential and lost futures it all evoked, and the dystopian themes of a number of ’80s films and TV shows.

Now, if you’ve been frequenting this site over the past few months, you might recall that the rising British producer and JOVM mainstay’s full-length debut, Beach Ghosts thematically touches upon his father’s death back in 2015 and his relocation to Cornwall, where he went to study popular music.

Gradually evolving from a singer/songwriter and guitarist to an electronic music producer, he found a much-needed outlet to express his grief and to process the major life changes he had just gone through.

So far I’ve written about two album singles:

  • Great Western Railway,” a cinematic and brooding track informed by his father, who was a stream-train enthusiast: His father grew up with the Great Western Railway trains passing his classroom windows. Sonically, “Great Western Railway” brought John Carpenter soundtracks and Trans Europe Express-era Kraftwerk to mind: Thumping, industrial clang and clatter paired with train whistle-like synth lines help to evoke a train roaring down the tracks to an unknown destination. 
  • Ruination,” a haunting and ambient composition that brings Brian Eno and Autobahn-era Kraftwerk to mind as its centered around atmospheric synths and skittering beats before closing out in a slow fadeout. According to the British multi-instrumentalist and producer the composition reflects “the journey of Cornish mines from once thriving places of industry to ghostly monuments to the past haunting the landscape.”

Beach Ghosts‘ third and latest single “Spectres of Summer” is a brooding track meant to evoke the summer nights with a hint of autumn chill centered around layers of glistening synths, tweeter and woofer rattling thump and industrial clang, clatter and acidic scorch. While the song is a a melancholic ode to the end of summer, it’s possess a subtle — but still noticeable — hint of hope and uplift.

The British artist explains that the track references the vibe of trip hop artists like Goldie, Massive Attack, and Moby, as well as genres like Future Garage and Witch House.

The accompanying video features footage and stills shot at sunset in Gwithian, Cornwall UK, Redruth, Cornwall, UK and Chania, Crete, Greece and Sougia, Crete, Greece. The video evokes the inbound chilliness of autumn and the increasing darkness of long winter nights in a way that’s hauntingly beautiful.

Tomorrow’s Child is a High Wycombe, UK-born, Cornwall, UK-based multi-instrumentalist and electronic music producer, whose work draws from a broad spectrum of music, surroundings and experiences — in particular, the ugly concrete buildings and garages of his hometown, the sense of failed potential and lost futures it all evoked, and the dystopian themes of a number of 1980s films and TV shows. 

His full-length debut, Beach Ghosts thematically touches upon the death of his father in 2015 and his relocation to Cornwall. Going on to study popular music, Tomorrow’s Child evolved from a singer/songwriter and guitarist to electronic music, which provided a much-needed outlet for him to express his grief and to process the major life changes he just went through. 

Last month, I wrote about the album’s first single, the cinematic and brooding “Great Western Railway.” Informed by his father, who was a stream-train enthusiast, who grew up with the Great Western Railway trains passing his classroom windows, “Great Western Railway” simultaneously brought John Carpenter soundtracks and Trans Europe Express-era Kraftwerk to mind: Thumping, industrial clang and clatter paired with train whistle-like synth lines help to evoke a train roaring down the tracks to an unknown destination.

Beach Ghosts‘ latest single “Ruination” is an haunting and ambient composition that brings Brian Eno and Autobahn-era Kraftwerk to mind as its centered around atmospheric synths and skittering beats before closing out in a slow fadeout. According to the British multi-instrumentalist and producer the composition reflects “the journey of Cornish mines from once thriving places of industry to ghostly monuments to the past haunting the landscape.”

New Video: Immersion Team Up with Laetitia Sadier on an Atmospheric Yet Uplifting New Single

Malka Spiegel and Colin Newman are a husband and wife team and the creative masterminds behind Immersion. Although they’re individually known for their acclaimed and influential work with Minimal Compact and Wire respectively, their work in Immersion provides an outlet for their ongoing fascination for crafting enthralling, unique musical soundscapes through five albums and three EPs released between 1995 and 2018.

er, run by Speigel and Newman, alongside writer, broadcaster and DJ Graham Duff and promoter Andy Rossiter. The night features a range of influential and cutting edge acts but the unique aspect of it all is that each show ends with a one-off collaboration between Immersion and that night’s headliner: with one notable exception, the songs have been written and recorded in the studio a few days before the show.

we had these recordings” Malika Spigel adds. The recordings have been since further developed with Speigel and Newman heading up production duties. The end result may arguably be the duo’s most unique yet beautiful albm to date. “I think the really interesting thing is how different everybody is,” says Spigel. “Both as people and creatively.”

Nanocluster Vol. 1 sees Immersion collaborating with some of the most acclaimed left field artists of our day — Tarwater, Laetitia Sadier, Ulrich Schnauss and Scanner. The album’s latest single “Riding the Wave” sees Spigel and Newman collaborating with Laetitia Sadier. Initially making a name for herself as a member of Stereolab, Sadier has since become an acclaimed solo artist, who has created a number of applauded solo works. Centered around atmospheric synths, a sinuous bass line and shimmering and spidery guitar lines, “Riding the Wave,” features a plaintive lead vocal from Newman on the song’s verses and a sunny vocal delivery from Spiegal and Sadier on the song’s uplifting chorus, which finds them singing “Things have a way of working out.” Considering how uneasy everything in the world is at this moment, the slow-burning and atmospheric song may unexpectedly be the anthem — and mantra — we need right now.

The accompanying video for “Riding the Wave” features some gorgeously shot footage shot in what appears to be the English seaside and countryside — and while beautiful, the visual is imbued with the bittersweet reality that all things pass.

New Video: Old Man of the Woods Releases a Gorgeous and Meditative Visual for “Dissolve”

Miranda Elliott is a Richmond, VA-based singer/songwriter, producer and creative mastermind behind the lo-fi, ambient pop project Old Man of the Woods. Elliott describes her creative process as the alchemy of shit into sustenance, deriving the project’s name after a dark, scruffy mushroom that survives by — well, turning shit into sustenance. Interestingly, Elliott’s Old Man of the Woods debut, last year’s Dissolve EP according to Various Small Flames’ Jon Doyle “blurs the line between the personal and the natural world, conjuring a vivid and sometimes eerie soundscape as damp and rich as the woodland floor.”

Elliot’s forthcoming Old Man of the Woods’ full-length debut is slated for release later this year. In the meantime, the Richmond-based artist has managed to be rather busy; her Dissolve Remixed EP marks the first time she has collaborated with others: Richmond-based artists monad and OK HUNNEYS, as well as Totally Real Records labelmates SUPERORDER contribute remixes of Dissolve EP material.

Along with that she has collaborated with Roman Betanzos and Gabriel Güieros, visual effect artists based in Vancouver and Montreal on the video for Dissolve EP’s title track “Dissolve.” As for the song, “Dissolve” is a slow-burning and meditative track centered around Elliott’s plaintive vocals and atmospheric synths that — to me, at least — seems to evoke mist gently rising in the forest.

The recently released video can trace its origins back to when Betanzos and Güieros reached out to Elliot through Bandcamp, detailing how “Dissolve” to them sounded like the coastline of British Columbia. Interestingly, the video follows a humanoid wisp of mist through a lush and damp forest landscape, much like the ones seen in the Pacific Northwest. For Elliot, it reminded her of a surreal hike in Berlin, where she had actually forgotten that she wasn’t in Virginia and took note that “all woods feel like home.”

New Video: London Duo Tullamarine Releases a Haunting and meditative Visual for “Then Billy Said”/”What Billy Said Next”

London-based electronic duo, Tullamarine — British-born writer/producer Adam Young and Kiwi-born, London-based writer/producer Joss Arrmitage — features two accomplished artists, who have been friends for over 20 years, but who have long created separately — until 2015 when the duo formed their latest, collaborative project through the fog of late-night conversations and half-formed ideas.

Inspired by Brian Eno’s Oblique Strategies, the duo’s initial idea behind the project was to creatively push each other through experimentation and remote collaboration, with the hopes of bettering their respective music. Sharing two, four or even eight-bar snippets, and never working physically together in the same studio, the duo saw ideas gradually form and organize themselves into symbiotic designs of experimental production. Interestingly, they had no prearranged agenda, no pre-determined style; they went where each track took them in an intuitive fashion.

The duo’s intuitive process shouldn’t be surprising: Young, who’s an expert int twisting and shaping audio found and Armitage, whose style is defined by a deep and abiding love of synths quickly found a natural fit that came together through a shared production and writing approach. Initially. tracks were guided by Young or Armitage, but rarely both. But by the time the released And So We Followed Her Blindly Into The Sun EP there was a marked shift in their creative process, with the duo collaborating much more while revealing influences from the likes of Nils Frahm, A Winged Victory for the Sullen, Reich’s Music for 18 Musicians and a lot of nights at The Barbican.

With the October 20120 release of the three-song Stratosphere EP, Young and Armitage firmly established their sound, one that’s an assertive, melancholic soundscape. Continuing where Stratosphere EP left off, the emerging British electronic duo’s 17 track album Frequency, allows listeners to further experience their complex and unique soundscape, which evokes memories of clubbing, to more expansive and meditative material, interspersed with beat work that brings 90s alternative hip-hop and IDM. Interestingly, Frequency’s latest single “Then Billy Said”/”What Billy Said” is an expansive track with a meditative piano-led introduction before quickly transforming into a trance-inducing section featuring skittering beats, shimmering synth arpeggios that slowly builds up tempo — but while being an exercise in tense restraint without release. Adding to the eerily cinematic feel of the song, get composition focuses on Billy, a bewildered fictional character, created by the duo’s Joss Armitage, who had conflicted relationships with women since his mother died when he was a young boy.

Directed by WIlliam Glass, the recently released video for “Then Billy Said”/”What Billy Said” is an achingly nostalgic dream that stars Lilly Ashley as a sort of distorted and romanticized image of someone’s late mother. Throughout the video, Ashley’s mother-like figure holds a fish balloon, which the duo and the video’s director explains is meant to embody both the child and childhood. Of course, at some point, the woman eventually decides to let her balloon go. So the video alludes to the innocent and playful mother, and to death — with the tacit understanding that death is a part of it all.

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.