Showing posts with label brass. Show all posts
Showing posts with label brass. Show all posts

Friday, 13 February 2026

「PREMIERE」COLIN RILEY, LOTTIE P, NIC PENDLEBURY & STEVE PRETTY — EBB AND FLOW

How do you capture the sea in sound? Maybe you'd record the sound of waves on a shoreline, or perhaps you'd focus on replicating the contrasting sides of the ocean, calm and catastrophic. Or, as is the case with 'Ebb and Flow', you create a piece of music that sounds instead like a grand adventure on the open seas.

"It's a huge blank canvas," says composer Colin Riley, "and we wanted to have lots of sounds to draw on."

Along with violist Nic Pendlebury, Riley is one half of Sonic Collaborations, the creative partnership behind 'Ebb and Flow' in its initial form. It began when the pair were tasked with creating a soundscape for visitors to the Cutty Sark (a late 19th-century tea clipper and once the fastest ship of its day).

"One of the pieces was crying out to be a song," says Riley, "and we really just followed our nose with it." For this they enlisted Lottie P (vocalist of London band Goat Girl).

The piece was 'Ebb and Flow'. It begins as if in ancipation of a voyage, pizzicato strings tense and poised with potential play a simple, shanty-aligned melody in kinetic syncopation with soft minimalist piano. Rising from this mist, slow vocals provide a textured sirensong crossed with a dawn chorus, aching for the land and sea simultaneously.

“Writing ‘sea music’ is a huge blank canvas and we wanted to have lots of sounds to draw on”

The percussion skitters, clattering like ropes fidgeting in the wind against sturdy a mast — in fact, these sounds are sampled rigging ropes, sampled and manipulated to form the sparse, echoing rhythm section of the song. Reflecting these rapid percussive elements, chopped vocals stutter throughout, providing an organic, human gabber that helps soften the harsh sounds of the ship.

The addition of a vocalist turned 'Ebb and Flow' into a song. But with the addition of trumpeter Steve Pretty, the song is elevated once again, and will be appearing in this form on Sonic Collaborations' upcoming album, Ocean Songs.

Pretty came aboard after performing back-to-back at sunrise with Nic Pendelbury at the UK's First Light Festival.

"Steve uses a lot of conch shell sounds treated with electronics in his recent music, and Nic uses electric viola with electronics, so there was a musical affinity," says Riley. "Plus, of course, Steve's work uses sounds that are literally from the ocean!"

As this piece of music continues onward, we hear the flugelhorn in all its splendour, adding not only a playful jazz lilt to proceedings but a sense of maritime charm. "The title of the track is so evocative," Pretty tells us. "When improvising flugel horn lines, I was very much working with this idea of overlapping, swelling, and the cyclical but unpredictable nature of the way that water - especially large bodies of water - moves."

Part epic voyage, part meditation on the nature of the sea itself, holding a mirror up to both ourselves and the briny deep, 'Ebb and Flow' showcases the power of collaborative songwriting — and how the life of a piece of music itself can evolve in fluid, oceanic ways.


  • 🔔 'Ebb and Flow' is out on 16th February, ahead of the upcoming album Ocean Songs, which is set for release on 24th March.
  • 🔔 You can read more about the soundscape that Sonic Collaborations made for the Cutty Sark over here.

    "The idea for the soundscape is that it provides an alternative to the spoken audio guide," Riley says. "You listen in your headphones while walking around Cutty Sark. There’s no voiceover, just music and sounds of life at sea blended together, so it’s more meditative. We created music for different decks, each in three versions to match weather conditions from calm to near gale. Remixes if you like."

    Continuing, he says: "Participants in the immersive experience around the boat have an ever-shifting sonic experience, with the music changing automatically as they enter each deck, but they importantly also have some control. They can, in effect, make their own story by changing the weather conditions and hearing the music develop, growing or receding."


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Sonic Collaborations Internet Presence ☟
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Colin Riley Internet Presence ☟
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Lottie P Internet Presence ☟
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Nic Pendlebury Internet Presence ☟
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Steve Pretty Internet Presence ☟
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Friday, 30 April 2021

TAMON TAKAHASHI — GHOST OF PROW


⌾ LISTEN TO GHOST OF PROW BY TAMON TAKAHASHI ⌾

There’s a richness to the soundscape at work in Tamon Takahashi’s ‘Ghost of Prow’. A swaying sweep of guitar floats through like the slow swell of the sea, paired with brass that peals and tapers with a stoic lilt — a sombre contrast to the evocative guitar solo that ends the piece. The vocals in the Hokkaido-based artist’s track are a hefty pairing of voices that add organic texture to proceedings, the bass smooth and crooning beneath it all.

Ultimately, with its pendulum-esque rhythm, and lavish, illuminated textures, the bittersweet charm of ‘Ghost of Prow’ illustrates the doomful passing of time with a world-weary sparkle.


  • 🔔 Listen to more from Tamon Takahashi over on his Spotify.

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Tamon Takahashi Internet Presence ☟
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Friday, 14 July 2017

🐣 PHILIP LASSITER — HOPSCOTCH

Interminable groove sails throughout this track, elements layered with beautiful precision, dynamic turning on and off and adding and subtracting to the tapestry of sound. The main thread weaving through here is the trumpet, its brassy peals moving from that ascending-descending refrain that kickstarts the track with a super shuffling rhythm, to smooth crooning and variegated wailing solo blasts that leave trails like the curling smoke of a missile spiralling through the sky. Philip Lassiter commands the trumpet as an augmentation of voice, the trills and warbles and harmonics spilling out in each slapdash-considered lick, the playful groovesome jumping nature of it perhaps defining the title 'Hopscotch'.

Amidst this though there is the bass which carves out a bouncing foundation, guitar zipping with it for extra energy in sharpness and distortion, and paired with the back-and-forth of the beat – its thwacking overdriven kicks and clacking metallic snares and shuffling hi-hats – this provides the rhythm that gives the track its feeling of staccato sway, the impatient itch to move; tremolo keyboards wash over the peaks and troughs of the funk with a rounded chiming sparkle, a soft resounding mist that covers all; a breakdown punctuated with handclaps and sparse piano twinklings. These powerful decorations, the beat, the groove, all serve to frame the brass blares in situ, give it a substantial context, and allows the trumpet to follow tangents and zigzags never too far from the foundations that anchor it to such a simultaneously danceable and chilled bedrock of sound.


  • 🔔 'Hopscotch' is one of the tracks to be taken from his recent album, Chill Mode, details of which can be found over here.
  • 🔔 As a related piece of trivia, it's fun to know that Lassiter "is most recently and widely known for leading an 11-piece horn section for the late Prince, with whom he toured internationally and in the U.S."


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Philip Lassiter Internet Presence ☟
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Tuesday, 23 September 2014

TOO MANY ZOOZ – TURTLEDACTYL

I don't think that I've ever heard anything quite like this before – I almost (almost) guarantee that you, yeah you, have probably never heard anything quite like it, either. Aside from this rather incredulous sounding opening gambit, I'd like to introduce you to a trio of musicians (or as they say, "harlem born brain-squid-child") from New York City making self-styled "brasshouse" music: Too Many Zooz.

One of them plays like, a trumpet thing, another of them plays a large saxophone (?), and another is a one-man beat-progenitor aka percussionist (I guess). They create dance music that's made up only of brass and beats: all organic, all live/living instruments. With SO MUCH/MANY electronics around right now it's a refreshing take on music made to make you move your feet. It's kind of like swing, but without the big band-type structure, with more housey rhythms and looping melodies. Plus the blare of brass is p much so foreign in this context that it might as well be a new instrument.

They recently released an EP, Fanimals, which is the perfect showcase of their sound. Since I've already spent what seems like loads of time explaining their uniqueness, I'ma focus on just one song, the nicely titled 'Turtledactyl'.

Built on a foundation of booming bass drum and syncopated baritone sax blasts, the trumpet laces frenetic patterns over the top, a glorious four minutes of soulful, heartfelt dance music that is as far away from EDM as is humanly possible because there is no E involved. Not unless you count the mastering / production – little hints of infrabass and an uplifting white-noise-whoosh towards the end – courtesy of Team Supreme member, JNTHN STEIN. Reaching a subtle crescendo of harmonising brass, it's got this chemistry that you can't help but succumb to, a kind of sweaty and cheerful joy.

In comparison to the rest of the stuff on their EP, it's melodically and dynamically more tame, but there is more wildness on their EP in the form of more dubstep-y (brass-step?) numbers, and bursting-cheeks trumpet virtuosity. Good on them I say.



☟ Too Many Zooz Social Media Presence ☟
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Wednesday, 18 December 2013

STROMAE TOUS LES MÊMES

Well now. This is interesting. I didn't know who this guy was until I googled him – is that bad? Who cares. I just saw that somebody shared the video on Twitter and I watched it and was not only intrigued by the video itself but also, and of course otherwise I wouldn't be writing this, by the music. Anyway if you can't read what I'm probably going to say in a tweet about this post, nor the title of this post, then I suppose the right thing to do is to say this is Stromae with 'Tous Les Mêmes'.

Yeah, it's a Francophone song. Everything about it is in French. If that scares you, I'm sorry; if not, then that's good. But who is Stromae? Well, you may remember a pretty funky nocturnal dance number called 'Alors On Danse' from 2010 that was like, huge everywhere – that was his song. He's called Paul Van Haver and he's from Belgium and he writes and sings songs. What else do you want to know? Have a look at Wikipedia for that. All I know is that this video is a strange and entertaining display of a man, Stromae, seemingly living the best – or worst? – or both worlds with lashings of jaunty choreography.

As for this song, it's a swing-infused tune that features the smooth, slightly melancholic vocals of Stromae singing about men being "all the same" ("tous les mêmes") in essence. There's a Latin lilt to it, in the subtly moody chords of the piano and the sweaty brass sounds that give it a bolshy kind of cabaret atmosphere, a hint of fierceness in its syncopated rhythms and a whole dose of electro-funk slo-house feel, thanks to that nicely understated, overlapping-itself bassline and the lush beat with its unbeatable claps. Catchy and destined for dancefloors and radio play (probably) all over Europe, this is a classy song from a pretty unique musicmaker.

This, btw, comes from Stromae's most recent album, Racine Carrée (that's 'Square Root' in English).



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