Experimental artist terrel flower has released his sophomore single, I’m not me, it may be difficult to pigeonhole in terms of genre, but in terms of feeling, it’s a reflection of dissociative ennui that kicks with an artfully Lynchian feeling of desolation.
Sticking to the darker side of the tonal palette in the downtempo and minimalist single, terrel flower gave the single a chilling atmosphere that allows you to carouse in monochromatic lament. With elements of glitch hop and ambient EDM within the single, fans of Portishead and Hooverphonic will want to indulge in the dark yet compassionately resonant single that welcomes you in and offers solidarity from the track title alone. It may not be everyone’s cup of tea, but neither was Albert Camus’ poetry, and therein lies the outlier beauty in I’m not me.
I’m not me is now available to stream via Spotify.
Jeff Goldsmith is a composer, sound engineer, and producer based out of Minneapolis; ‘Waiting Window’ the first track from his forthcoming album ‘May You Find The Light Before The Devil Knows He’s Right’ – composed and recorded during the Covid-19 pandemic – is a dark, brooding, piece, semi-neo-classical, semi-industrial, and mainly instrumental. All based around field recordings and live samples from Minneapolis, it’s a mix of the avant-garde, elements of alt-rock mixing with a repeating piano motif, sampled ambient noises, and speech, all building slowly throughout the five-and-a-half minutes of the track. At times sounding like Phillip Glass or Mike Oldfield, others with dashes of the softer parts of Nine Inch Nails or Ministry, switching still to the Orb or Ozric Tentacles. It’s an entrancing, evocative mix of alternative, dark ambient, and auditory narrative soundscape.
You can catch the video for ‘Waiting Window’ on YouTube; find out more about Jeff Goldsmith and his work here.
Following the death of his parents, Melbourne-based musician, composer, and producer Matt Lewin started the always-difficult task of sorting through possessions; one such item was an old reel-to-reel tape recorder, containing the outlines of 28 previously unheard compositions for voice and piano, made by his grandfather in the late 1960’s. Lewin took these sketches, interpreting them through his own unique compositional trope, avoiding using his father’s voice or reinterpreting the original compositions, adding instead an ambient, minimalist soundscape around the original recordings to create a unique father-and-son collaboration which reaches across the years.
What we’re left with is a hauntingly beautiful, peaceful-yet-uplifting collection of mellow, downtempo electronica, a deeply original, personal musical conversation which feels both timeless and remarkably contemporary. Lewin’s sympathetic approach allows space for the original compositions to breathe and grow, whilst adding up-to-date touches with synthesised and sequenced instrumentals evoking feelings of peace, tranquillity, hope, and solace.
Lewin’s album, ‘The Map Maker’, is released on March 18th; you can hear ‘Heirloom’ via BandCamp, and check out Spacecadet Lullabies here.
Electronica luminaries Franz Kirmann and Roberto Grosso combined their signature sounds in their latest release, ‘Saudade’. The collaborative mix unravels through pulsating beats, glassy synths, and flurries of intricate notes that almost allow Saudade to tease neoclassic properties. But at its core, Saudade boasts a tribalistic drive that you’ll want to strap yourselves in for.
The quiescent release allows the styles of Nils Frahm and Thom York to meet in the modular-synth-middle, to entrancing effect. If anything can strip away lockdown anxiety and angst, it’s Saudade.
Dublin-based composer and electronica artist, John McCrea, paints with textures of post-classical, Europop and ambient minimalism, yet his un-constrainable sonic prowess becomes more than just sound through the imagery it inspires and the emotion it evokes. The perfect introduction to their cinematic style is the title single to their latest solo album, ‘Mantra Mantra’.
Mantra Mantra is a progressively sensual whirlwind of intensity which permits flurried piano notes to capture urgency while the low reverberant hum of the bassline is a grounding layer of realism which reflects the dread which is very much a part of our mortal coil.
It’s so much more than your average vibe out playlist essential, crank up the volume and you’ll enter a new world constructed by the enigmatic artist who has made a name for himself writing for theatre and dance. His talent is just as mesmerising as a standalone soundscape, there are a plethora of layers to unpack, any attempt to dissect the soundscape feels like butchery.
German-Ivorian composer, Spielbone, made their debut in 2018 with their minimalist neo-classic twist on ambient electronica, in 2020, he released his pacifyingly immersive album ‘Infinitesimal’ any fans of Nils Frahm or similar contemporaries are going to want to pay attention.
In a time when sanctity of any form is scarce, meditative soundscapes such as Les mérites du doute are worth their weight in aural gold. As Chamber strings draw across the keys, the ruminative soundscape pulls you in deeper into the sanguine essence. Spielbone’s ability to set synapses alight and make heartstrings feel taut will undoubtedly see him going far in 2021 and beyond.
You can hear the album for yourselves by heading over to Spotify.