Wil Bolton is a London-based artist and musician, whose work uses guitars, acoustic instruments, vintage keyboards and effects to create warm and emotive melodies, fragmented and submerged among beds of droning ambient textures and environmental sounds. He has released albums on labels including Hibernate, Time Released Sound, Eilean, Home Normal, Dauw, Dronarivm and Fluid Audio. He has also shown his sound and video works in exhibitions at ICA, Incheon Art Platform, Liverpool Biennial and others, and has performed at venues including Cafe Oto, Tate Liverpool and I'Klectik Art Lab.
'"Night Paths' is an album of dreamy ambience inspired by reveries of moonlit summer nights, walking aimlessly through forest paths. Made with a refined instrumental palette of electric guitar, analogue synthesizers and looper pedals, asynchronous loops and layers merge and collide in hypnotic lulling repetitions. An array of stomp box effects and crackling amp noise blur and disrupt these tones. Swathes of gauzy reverb and woozy delays and chorusing effects evoke daydreams and soft-focus memories."
Serene spellbinding worlds come together on the glistening waves of Shall Remain Nameless’s self-titled effort. Quite pastoral in its efforts the way the many layers converge into a singular whole feels deeply satisfying. Field recordings permeate the entirety of the album for the way they seem to simply immerse the listener in such a wild jungle of recordings feels positively liberating.
Drones remain equally important as Shall Remain Nameless touches upon some of Stars of the Lid’s more elegant, less-feedback laden later works. Classical helps to frame every piece for the songs resembles suites in a greater symphony.
“Forest Fly” carries the listener to a tranquil, exotic rain forest, inhabited by tropical wildlife. The inclusion of an enigmatically soothing sitar suggests that we are perhaps accompanied by an imaginary, mysteriously wise sherpa as our guide, giving the track a relaxed, melodic warmth.
Seamlessly shifting to the celestially- inspired “Sunshine In a Blackout”, subtle changes in this ambient orchestral production are somehow simultaneously glacial and emotionally uplifting.
Meanwhile ,“Uneven Terrain Pt 1” as its title suggests, leads the audience down a murky musical path as sinister whispers from dark forces fill the air in this curiously lurid nightmare. The resulting creation is dark ambience at its best.
The twisted nostalgia of “Coney Island Sideshow” presents an electronically intricate, if unsettling centerpiece for the album. The contrast of hypnotic sonic chattering and vocal snippets of family fun at the fair ground requires repeat listens to appreciate its many nuances.
As the album comes to a close “The Fear” reintroduces earlier themes; wide open musical landscapes, floating ambient melodies and electronica are all enhanced by selective samples of the human voice.
The artists influences : The Future Sound Of London,The Orb, Ambient music from the early 90's.
Dan Caine is ambient/post-rock musician from Merseyside, England. A pioneer in the movement, Caine uses powerful, layered guitar melodies to create an atmosphere of an intense range of thought and emotion as he explores the depths of the human psyche. His music is a free-flow of subconscious urge and instinct; a deep dive into the unhindered world of the Id. Much like a fine wine, these meditative works expose more and more of their depth with each listen, and like a mood ring, they morph and change to reflect the state of the listener perceiving them. Caine’s music is also richly melodic and is layered with vibrant textures, created primarily from his collection of guitars, producing brooding atmospheres and serene sonic landscapes.
The Jackson Pollock of ambient post-rock, Caine is a master of breaking music down to its most basic elements and arranging them in a work of abstract purity. This enables the listener to explore their own connections to the sound and engage with the piece less as a listener, and more as an observer of aural art. His music is broad and guiding, yet flexible and undemanding, allowing the observer space with which to process their own humanity within it.
Dan Caine, born in 1988 in Wirral, England, first picked up the guitar at age 15, inspired by a lot of alternative music, as well as his own father who played the classical guitar. He has had no formal musical training or tutoring, save for being taught a few basic chords from his father. He realized early on that making music was a great way of expressing himself and began recording his experimentations as a hobby. Eventually, in 2013, he published his first album, “Ephemeris”, which was a collection of some of his best ambient pieces that he had made of over the previous years. Since then, his music has evolved and has primarily drawn on influences from ambient, post-rock and new-age music.
With his first solo project, Sascha Bachmann (aka "HAND") combines tape loops and moving images to create contrast with the fast, loud world we live in, forging space for emotions, self-reflection, tranquility and excitement.
“HAND, aka Sascha Bachmann, is a musician from Berlin who loves creating experimental sounds and dance beats. When Bachmann was a kid in the '80s, he found his father’s Tesla tape machine in the basement. He started listening to music with his friends and became passionate about it; the foundation stone was laid. It is in part because of these early experiences that he has been working in his own analog recording studio for the last 10 years.
As a drummer, Bachmann is continuously collaborating with different bands and projects such as ‘Sirius Mo’ & ‘Jan Driver’ while always trying to explore his own vision and ideas about music. Inspired by all kinds of art, he finally started creating the concept for his first solo album.
With his "DEBUT" album he creates unique sounds, using his own heartbeat to bring them to life. Wilderness, calmness and repetition are used in combination to deepen the music. Bachmann also works in visual elements to transport listeners to another dimension, using old super-8 moives during live perfromances. He creates beautiful patterns and abstract landscapes by scratching the super-8's and using colors or chemicals. Bachmann's tape loop project has been performed live in Berlin and New York. With "DEBUT", HAND creates contrast with fast world we live in.
Crafting a concept album is an incredibly difficult task. Tying together a cohesive narrative across a record’s worth of songs isn’t just daunting, it’s an endeavour that even some of the industry’s finest have failed to do memorably. This task, however, becomes notably more difficult when you’re dealing in the abstract via instrumental soundscapes. That is what Chronotope Project, the moniker of composer Jeffrey Ericson Allen, attempts to do with his latest project, ‘Ovum.’
‘Ovum’ “is a concept album that poetically reflects on the nature of beginnings, seeds, and primordial states of being,” Chronotope Project muses in their liner notes. The project is Allen’s attempt to explore the depths of time and space utilizing complex sonic landscapes. Surprisingly, ‘Ovum’ does this particularly well, conjuring longform instrumental pieces that are worth listening to - an impressive feat.
As with any concept album, ‘Ovum’ is best served by being listened to in its entirety. This is quite the commitment given the length, but it gives the best insight into Allen’s creation. The first track, ‘Olduvai Dreams,’ clocks in at ten minutes, making in the album’s most weighty effort. It introduces a very ethereal, mystifying sound. In this track, though, it’s also a very earthy sound. The sound is chock-full of African tribal influence, Native American flutes and percussion, and so much more.
Throughout its ten minutes, ‘Olduvai Dreams’ proves completely enthralling. The title track, on the other hand, proves less accessible, digging its heels deeply into long, drawn out synthesizer sections. The track is best served by a quality sound system due to its slight variations as time goes on, but it’s definitely more nuanced in its accessibility than its predecessor.
‘Mariposa’ is very similar to ‘Ovum,’ providing a sublime dive into angelic, soft-spoken synthesizers. Some of the instrumentation draws very thin parallels to, perhaps, Nordic influence, but by and large ‘Mariposa’ lacks the earthly qualities of ‘Olduvai Dreams.’ The track culminates into a much stronger finale than ‘Ovum’ as well, one that builds as synthesized choruses and a percussion section enter the fray in a beautiful fashion.
‘Primordial’ is a rather beautiful tune, one that harnesses soft, cricket-like sound effects over soft orchestration. It feels like a combination of ‘Olduvai Dreams’ and its familiarity and ‘Ovum’ and its otherworldly nature.
‘Epiphany,’ too, proves a fairly compelling listen, the synth-driven experience is a fascinating one. The same could likely be said for the finale, too, ‘Starry Messenger.’ It is a wonderful ending that pulls flute back into the forefront, likely to strike a contrast to the first song.
‘Ovum’ is, for the most part, a strong effort. The songs are surprisingly intriguing to listen to, which can rarely be said for ten minute instrumentals. The conceptual part of ‘Ovum’ is very subjective and abstract, but it does do a fine job exploring the dichotomy between earthly and celestial sounds. On the whole, ‘Ovum’ is a treat for experimental instrumental fans worth spending time with on a good sound system.
A combination of retro aesthetics, enduring lyrics and alt-rock grit.
The best music happens when artists refuse to remain stuck in their own comfort zones and creative boxes. Whenever this happens, they are free to give full range to their vision, and they can really come up with something that’s groundbreaking and personable. This is certainly the case here with Tommy Red and his brand new EP release, “I Wanna Be Exploited.”