It has been a little over two years since we heard from Good Weather For An Airstrike, the project British musician Tom Honey conceived nearly nine years ago to help alleviate suffering caused by tinnitus. Little Steps is a fine addition to his catalog as it finds the sweet spot between the ambient, post-rock, and electronic elements which are all integrated into a seamless organic flow with a deft and delicate touch.
Jason Sweeney is known for a wide variety of projects and many musical aliases over the past two decades. Perhaps the most personal and intimate is the classically oriented Panoptique Electrical which saw a new release this month, the first since last year’s Disappearing Music for Face. A great deal of what you need to know about the know record is encapsulated in its title – Quiet Ecology.
In 2016 Sweeney undertook a quiet odyssey across four Australian cities (Adelaide, Perth, Sydney and Melbourne), searching out and mapping quiet spaces in and amongst these built environments. He wanted to discover as many zones of quiet or retreat in these cities and make compositions in response to these locations. He created maps and listening walks that took him from space to space. His desire was to ask a simple question: Can you find a way to release yourself, if only temporarily, from the noise of the world? ‘Quiet Ecology’ is a sonic memorial to these spaces and a musical act of quiet preservation. – Sound in Silence
It was the piano that first captured composer Alina K’s imagination as a child in Lithuania. Having moved to London with the intention of further developing her piano
playing skills and performed at the opening ceremonies of the prestigious Vancouver Fashion Week, she recently took the bold decision to leave a steady work in the world of luxury retail to focus full-time on her music. This has led to her first collection of music to be formally released, an EP due in early February of 2018. Produced by Nick Tauber, who has worked on bestselling albums for Thin Lizzy, Def Leppard, and Marillion, Awakening will feature selections from fourteen original compositions that she recently recorded at the famous Abbey Road Studios. The first track from the album, the aptly titled “New Beginnings”, premieres today and allows listeners to experience the uplifting beauty and direct emotional appeal of her elegant compositional style.
“I want to create music that transcends boundaries. My compositions come from my heart and I am so happy to see them bringing joy and positivity to the audience.” – Alina K
Few artists in the world of instrumental music have a compass as locked on to true north as Hammock. For years, this Nashville-based project of Marc Byrd and Andrew Thompson has served up a rich sonic feast spanning the genres of ambient, post-rock, and modern classical while resonating with heartfelt, and often heart-wrenching, emotion. Perhaps what they are capable of was summed up best and most succinctly in a comment to one of their recent videos where the listener said “Hammock has this way of telling you, ‘Everything will be okay.’, in the most beautiful way possible”. And in 2017 we have a double helping of new work from the band, an original motion picture soundtrack and a full-length studio album.
Following last year’s impressive full blossom of the evening, California-based r beny returns with another beautifully crafted opus fashioned from modular and hardware synthesizers entitled cascade symmetry. The album, which was recorded in San Jose but features additional field recordings captured in South Korea is a work the artist refers to as the “culmination of an intense and transformative year-long period” and “an ode to new beginnings and the disintegration of the past”. While that may be true creatively speaking, the listener will experience this album as a soothing immersion in a world of sumptuous textures; a warm and inviting quiescence of time as lush, shrouded, and remotely melancholic as Austin Cairn’s imagery of the Oregon coast on the cover suggests.
Don’t be fooled by Martyn Heyne’s youthful appearance. The Hamburg-born composer & producer brings a wealth of knowledge and experience to his debut full-length album. He took up piano and guitar at an early age teaching himself the instruments in non-traditional ways before going on to be classically trained at the Conservatory of Amsterdam. In addition to being a live performer with the acclaimed indie band Efterklang and opening shows for Nils Frahm and A Winged Victory for the Sullen as a solo artist, Heyne has worked with a diverse group of high-profile artists in his Lichte studio in Berlin including Peter Broderick , alt-J, and The National (for a nice sampling of these check out his ‘Monday is Ok’ mix here). He brings all of this compositional and recording experience as well as his fondness for the electric guitar to the table for the recently released Electric Intervals, an album which he approached with a very specific philosophy.
“The number of parameters that determine a recording appears to be infinite. The mood, instrument, tuning, settings, microphones, room, placement, temperature, time of day, etc. all contribute to sound. The magic, once captured, is impossible to recreate. This might seem a hindrance, but it’s really the whole point of recording for me and also the reason why I never use samples or virtual instruments…the better the instrument sounds, the more you want to convey that quality.’’ – Martyn Heyne
vaghy (Tamás Vághy) is a Hungarian composer and pianist who is making an appearance as a newcomer on the modern classical scene, but is no musical neophyte. Surrounded by his father’s old tapes and vinyl, his love of music came at an early age. Having developed into a multi-instrumentalist with a taste for a wide variety of genres, he performed in thousands of concerts from clubs to large festivals including serving a the keyboardist for the well-known Hungarian rock band Anna and the Barbies. During these years, in the quiet environs of his bedroom studio, he indulged a passion for classical music. After seeing a Nils Frahm video several years ago, Tamás was inspired to bring this more personal work into the public sphere, performing live sets in 2016 and again in 2017 in support of Frahm’s own worldwide Piano Day event.
How does one capture the essence of a landscape so as to describe it to another who has never been there? The vast majority of us would rely on words and pictures, but how many of us would think of trying to do this strictly with sound? Not music, mind you, but sound. That is the unique perspective & artistry of the field recordist and there are few out there as inquisitive, resourceful, and discerning as Kate Carr. She has steadily built a creative practice around exploring both human and natural geographies.using field recording, experimental composition and sonic mapping. Recently during a residency at Joya: AiR in Velez Blanco in southern Spain, she decided to undertake a sonic transect of the mountain facing the villa where she was staying.
Over the next two weeks I lugged my equipment up and down the mountain, pausing every 100 metres to sample or attempt to ‘play’ a very precise and small location. In this way this release attempts to stitch together a mountain pass in sound, a succession of played and recorded sonic niches from the radio in the villa on the valley floor, to the vibrating low-growing woody shrubs braving the rocky peak…It is a quiet and strange document I think, which I hope conveys something about remoteness, and a sense of a physical journey through a very specific landscape via sound.”
Minnesota based composer Chris Bartels is a man of many musical faces. Under the umbrella of his hybrid record label and production house Anthem Falls Music, he tends a variety of projects under different monikers along with work under his own name for film, TV, & advertising. The one that should be most familiar to fans of ambient music with a cinematic bent is Elskavon, which saw its debut in 2012 with the excellent Movements In Season followed by Release in 2013 and Reveal in 2014. Three years later, it is great to see Chris reactivating the project with previews of a fourth LP due in January. Each song on the new record is inspired by a particular memorable moment or era in his life and he has furnished us a prime example in “Dusk Line Hills” which I am pleased to premiere today. The backdrop for this track is an unforgettable moment that occurred in the Black Hills where Bartels was vacationing with his wife, one-year old son, and in-laws just as they were discussing how much they would like to get a glimpse of the elk that roam the area.
Literally as we take a right on the road to exit the route, there’s an elk, and then we see another one. We slow down and pull over to watch. It was getting close to dark. All of a sudden we hear some cries and look up the hill. There’s about somewhere between 60 to 80 elk. They started calling at or to each other, and then running up and down the hill for a minute – maybe there were two herds, I’m not sure. I just remember that moment so clearly – I remember all of us in the car just sort of gasping and then falling silent for a bit, watching, listening, taking it all in. Then in no time, they were gone. Disappeared over the dusk line hills”
A good friend and active supporter of instrumental music as the creative force behind the revered Headphone Commute (a huge influence on Stationary Travels, btw), Mike Lazarev has more recently revealed himself to us as a fine composer of solo piano music with a pair of mini-albums released on 1631 Recordings. Completed in New York before a move to London and intended to be listened to as the second half to last year’s Unhinged, the forthcoming follow-up entitled Dislodged offers ten exquisite pieces that explore “the outer reaches of spatial and reductionist pianism”.
If the two albums comprise a journey, it would seem (and we would hope) it is on a path to healing. Muted, wistful, and plaintive Dislodged may be, but the track titles hint at peace and recovery while sweet melodies and the occasional flourish of other instruments as well as a TV interlude add a sort of warmth to the proceedings. One might imagine the dark face of a building at night in the heart of the city where a single window glows with light and, as we peer inside and tune our ears to sounds coming from that direction, we get a glimpse of the composer having a dialog with his instrument. Intimate and personal perhaps, but expressed in a universal wordless language that anyone who has experienced detachment, isolation, or heartache will instantly understand. Continue reading
Unsichtbar is a new project from Lima (Peru) shrouded in a mystery by design. The word, meaning ‘invisible’ in German, is an apt choice for the anonymous alter ego chosen by the artist for an intuitive creative process unencumbered by preconceptions or set guidelines and deliberately unmoored from a conscious sense of self.
If I give too many details, I go back to myself, and that’s something I am trying to avoid. Here, I experiment with completely different and new sounds with the only intention of experimenting. No hidden messages, no complicated concepts, nothing at all. Just textures and sensations. That’s what ‘Erlebnis’, my debut album, is about. A creative process that, if transposed into life, could be seen as youth and the experiences we go through while growing up and discovering ourselves. – Unsichtbar
The debut album Erlebnis (‘experience’) offers 8 mostly unstructured sonic experiments that skew heavily toward the crepuscular and opaque. Dense, even ominous at times, there is an emotional undercurrent throughout which occasionally breaks through in fragments of melody and tender moments of heightened perception. These characteristics are abundantly evident in “Junges Liebespaar” which you can listen to here in an exclusive premiere. Continue reading
Classical composer and pianist Andrew James Johnson will release his debut solo album Winter’s Heart in November 2017, a record he developed over a number of years, taking inspiration from travels from the Californian coast and Hawaii, to the Canary Islands and mainland Europe. Born in Birmingham to a family of six siblings, Andrew was brought up on the music of The Beatles, Elton John and David Bowie while at the same time he developed an unprompted love of classical music immersing himself in the works of Beethoven, Schumann and Chopin – a juxtaposition in styles that shaped the musical landscape of his childhood and is reflected in his passionate compositional style which Johnson embraces with genuine conviction as he seeks to forge a genuine connection with his audience.
‘Winter’s Heart’ is my debut classical album. It’s the summation of my creative output as a pianist/composer over the last few years. The ‘winter’ theme represents what I personally tap into when I’m alone with nature – stillness, clarity, openness and purity. The piano has such a wonderful sound world to explore. It’s sonorities are limitless and can reach into our emotional core with just a few notes! I hope that my music will touch listeners and allow them to experience their own beautiful isolation and to be lost in the ebb and flow of the unraveling musical textures, much like winter itself…”