The second release in the new Subconscious Series from Miracle Pond, a sister label, focusing on more long-form, deep listening concepts.
Stepping up this time round, prolific electronics wizard Polypores has “mind-melded with best selling author Gareth E. Rees to create Deep Motion Trips“.
The result of this collab is a mad concoction could be best described as 1980s new age meditation meets kitchen sink realism, which kept me hooked throughout the two 10 minute pieces.
Expect full previews of these on the next Flatland Frequencies Mutant Radio show, on the 13th March.
Eight tracks of lush electronics from Apologist. Moving from dub techno openings with ‘Architects Dub’, into expansive ambient soundscapes with ‘No Closer Than The Moon’ and an upbeat sunrise chugger in ‘Landfall’.
Although a wide range of styles are covered here, the sounds are not disparate and hold together nicely as an album. Individual tracks hold up from a DJ perspective too, so should be something in here for everyone. TIP!
On a cold, snowy evening of the social distanced winter of 2021 we take stock and drift back not so many months to the warm summer of 2019 when this video was shot, on a mini-DV Handycam, in various locations around Felixstowe. The music is inspired by Japanese Environmental music and was composed on Nanoloop IOS. If you want more visit Penname records.
Classic, filmic synthscapes from Belgium duo Rikaar.
Big pads and pianos drenched in that reverb (think Eventide blackhole preset), gives these tracks a strong Vangelis vibe. Fans of sci-fi film music will feel at home here. The composition is tight and production values are high, which certainly gives the tracks a professional sheen, as associated with modern DAW-based soundtrack production.
Ambient is such a broad encompassing term these days, which can be used to describe anything from functionalist minimal Eno-school ambient, Japanese DX7 reductionism, modular experimentalism, all the way to epic-sounding soundtrack music (of which end of the spectrum this release lies).
Sci-fi music we collectively adhere to as ‘classics’, all have something in common. From the Barron brothers otherworldly soundtrack in Forbidden Planet, Derbyshire’s original Dr Who theme, Vangelis Blade Runner soundtrack, all the way up to the return of raw analogue synths in the Stranger Things soundtrack. In all examples, the composers used technology in new and unexpected ways to portray a theme of the future. With this in mind, in terms of originality and inventiveness, IC 1848 doesn’t push any boundaries in term of sound design. However the composition is programmed impeccably and certainly serves its purpose.
The goal of this album was to capture the feeling of being in awe of nature. I think we can say that, especially when accompanied with the visual work above, this goal is achieved. Minimal soundscapes, and at times discordant tones, give an impression of vast space and power. The album is also available with a custom printed book of photographs. You can find out more here. And if you’d like to know more about the label Silent Season check this excellent video by Dub Monitor.
As we adapt to new ways of existence, projects and collaborations need to evolve alongside. Remote working is not a necessity confined to people working office jobs, but artists and musicians too.
Last week we featured a premiere of Grey Skies – ‘Heavy Burden‘ from his new release, Year. To follow up, Elias has kindly provided some insight on his influences, composition and production techniques.
” After being a member of indie/post punk bands for more than a decade, and being a huge fan of ambient and experimental music I wanted to create a record that is totally different from what people who know my previous creations would expect.
