Showing posts with label evocative. Show all posts
Showing posts with label evocative. 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.


  • πŸ”” 'Ebb and Flow' is out on 16th February, ahead of the upcoming album Ocean Songs, which is set for release on 24th March.
  • πŸ”” 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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Friday, 30 January 2026

「PREMIERE」PEIRIANT — SONG IN PARTS

At the risk of sounding prosaic, 'Song in Parts' is a song in parts. But that's putting it too simply. The first musical morsel taken from Plant – the upcoming third album by Hay-on-Wye-based duo Peiriant (Rose Linn-Pearl, violin, and Dan Linn-Pearl, guitar) – rather than "parts", or even the modest label of "song", this piece of music evolves like a tone poem (see the dynamic waveform on Soundcloud for visual evidence).

Folk-spun violin and glimmering guitar strike a balance between earthy and mystical, the atmosphere deepening with columns of drone, dipping into quietude with theremin-esque synths calling like slow electric whippoorwills. It's a contrast of textures, the organic skitter of bow on strings vs. blooms of synthetic bass — part jam session, part country dance, part ambient reaction to space and sound.

Structurally reminiscent of a sonata, the folksome melody that introduced 'Song in Parts' at the beginning returns in the final richly layered portion of the piece, where in bright bold tones it almost erupts into a jig among the watching trees, but restrains itself.

'Song in Parts' speaks of the illusions folk songs have always cast over their listeners – of better days, spring, winter, of outlaws, love, landscapes – stories fashioned by strings and vocal chords. Except Peiriant do more: not only do their violins soar and spin grass-fed cloud-borne melodies, their guitars picking notes like threads of tales, but true to their name (peiriant means machine in Welsh) they drone and beep, glistening with spells worked in production, granting them further capacity to evoke unnamed, unknown things and feelings in the air.


  • πŸ”” 'Song in Parts' is the first single from Peiriant's new album Plant (their third; and which means "child" in Welsh), due out on 27th February via Recordiau Nawr. You can pre-order it as a limited edition 12" vinyl, or indeed as in compact disc form, over on Bandcamp.
  • πŸ”” The album artwork is taken from Violette enters the world by glass artist, painter and sculptor Amber Hiscott.

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Peiriant Internet Presence ☟
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Monday, 26 January 2026

[PREMIERE] JOSS JAFFE × JIM WEST × KAZU MATSUI — ACROSS THE OCEAN

A broad spectrum of ambient, instrumental music is written about on yes/no. Rarely does it follow a formula; creativity has a way of being unpredictable, even within the constraints of adherening to particular aesthetics espoused by whatever genre one has sought to somehow inhabit. But still when we think of "ambient music" there is a certain mental image that pops up.

Why? Being ambient does not have to be the sonic equivalent of clean lines and polished concrete. Be unobtrusive, yes; create a calm atmosphere, yes; but there are many ways to be and create such things. Case in point: 'Across the Ocean'.

A collaboration between musician Joss Jaffe, award-winning guitarist Jim West (decades-long guitarist for "Weird Al" Yankovic) and shakuhachi master Kazu Matsui, who's contributed to movie scores from Willow to Jumanji, this piece of music takes a different path to reach the meditative, refraining realm at the heart of ambient music.

Jaffe had already recorded two albums with WestAum Akua (2022) and Santhi (2024) – but it was a chance meeting with Matsui that led to his involvement in the project. Jaffe explains that he was performing with TAKURO (Takuro Kubo, guitarist for Japanese rock band Glay) in Tokyo when Matsui was brought on as a special guest. "We hit it off," he says via email, thanks to their shared experience playing with many different world music artists.

In 'Across the Ocean' the trio find a singular groove that summons the vast ocean under a vaster sky. Flowing chorused guitar melody sets the piece in motion, a drum heaped in considered reverb deepening the sense of space as it and guitar begin a slow swaying call-and-response, as if between continents. The texture of Matsui's shakuhachi adds to the shifting momentum of the piece, like running a hand over raw silk — soft but teeming with organic detail.

The track is a fluid mix of post-rock jamming and the reflective nature of suizen (literally "blowing meditation", the Zen practise of mindfulness while playing flute). Though uncharacteristic of what may be called ambient music, there is no lure to snag listeners into feeling any particular emotion, no lyrics to inform you of the musicians' own feelings. Instead we have a mesmeric, fitingly oceanic sense of calm.

'Across the Ocean' shows that ambient music – an evocative blend of sounds and spaces between intended as a canvas daydremaing and soundtracking the everyday – can take many different shapes.



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Josse Jaffe Internet Presence ☟
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Wednesday, 10 January 2018

🐣 BELS LONTANO — LOVELY PATH

We are back in the misty moods that define the music of Bels Lontano, and this time we are inducted into the sumptuous beats and the trickling of percussion of 'Lovely Path' that helps to make it a textured journey of sound. Whereas 'Smokkr' was a delicately decorated tract of sultry ultrachillment, this one is a more winding, creeping sonic illustration, more a flurry of house-styled kicks that keep it uptempo, some sense of vague worry like being lost without fear in a wide wonderful world.

Simple bass underpins the cascade of it all, an ascending pattern of notes that gives the impression of motion, sidechained to the beat for this wavy in-and-out-of-earshot vibe. Chimes glisten and gloss together, insectoid chirruping zings in the background; the clink-clank of hefty metallic objects draped across each other and dragged along for the ride. Harp sounds evoke something heavenly in the nocturnal marrow of this track, a path through an ancient forest lit for your safety by bioluminescent mushrooms: a lovely path.


  • πŸ”” This arrives ahead of Bels Lontano's Kin Decade EP, which is "out soon".


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Tuesday, 27 June 2017

πŸ’Ώ PAISLEY — 404 FUNERAL

'Time Passing' – one of the more diminutive tracks among this selection of seventeen – is as good as any a place to start off this odyssey of beats. Fluttering whooshes like the track's just landed on your windowsill and will start cooing to you at any moment, it arrives with decayed instrumental sample, glitchified percussion with hi-hats that fizz, kicks that thud with MegaDrive distinction. 404 Funeral is a selection of vignettes that feel like this. 'U Got It Going On', one of the more wobbling tracks in this series of seventeen, feels decayed, suffocated by age and warped beyond recognition, with elements that feel similarly bitcrushed; 'Squash' feels like a flood, fifty-two seconds of mashed beats and samples that feels like a luscious rainstick of sound.

Paisley's new stream of lo-fi creations – "made well over a year ago" – does go beyond just tape cassette decay and crackling nostalgia. The retro VGM sound to some of the percussion is matched by a sharp and delicious outpourings of drum sounds, like on 'What's Your Name' where behind snippets of Japanese dialogue a hi-hat dimly ticks with rounded flavours, and by the real-life drum-kit's-next-door feel beat in 'Lost My Suica'; here the outdoors noises, the singing birds of evening and the whir of insects, are evocative of the track's eponymous story: losing a Suica card (one of Japan's numerous, regional travelcards) means walking through the pseudo-suburbs that blossom between Tokyo's main hubs, thus hearing the city differently—here is where the titles of these tracks meet their content perfectly, a contemporary urban idyll. Indeed with this in mind the album's title could refer to the organicity of these tracks, embedded in the real world: '404' refers to a missing webpage and the 'funeral' part, well, netdeath: becoming a web ghost.

So 'Sunday' is chilled, samples like colours melting into each other stream along with a sleepy feel. In 'Until Next Time' the music wobbles rapidly like eyes welling up, the samples plaintive, painting the thoughts you have after a goodbye. But it's not all rose-tinted: 'I Need an Adult' seems to signify, with its exorbitant trap-infused beat and dramatic icy tones, a twinge of despair, a sense of longing exuding from its cold booms. Amidst the warped pianos that sound like television in black-and-white with no remote controls, rotary dial telephones, floorboards and gas lighting, there is more. Stand-out and yes/no favourite '1992' sounds like a joint right out of Earthbound, 'Battle Against a Machine' to be exact, with its huge gloopy constructivist beat and cold-sleek sampling; 'Nobody' makes groovesome use of a funk sample, 'Doomed' weaves in MF Doom—'One For Rex' glosses futuristic with hollow synth melodies.

404 Funeral skips along for just twenty-one minutes of your time, each track just over or just under a minute long. But it is that exact brevity which makes Paisley's morsels of music so delectable. To conjure a feeling through music, any feeling, is impressive, but to do it in a matter of never much more than 100 seconds feels wonderful, a bagful of gems, a batch of cookies, sketches, a pile of postcards that etch images for us, evoke comfort or love or adventure or relaxation, that temporally, spatially send us elsewhere: time passing.




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Thursday, 18 May 2017

🐣 COSGROVE — EASTERN CARAVAN

Beginning with magic and majesty, the soft clattering of different elements poised to join together and jam – the reverbing muted rumble of the drums, faroff breeze of cymbal, the bass plucked slowly and poignant in the tense silent air – Cosgrove's track 'Eastern Caravan' is a dream of music, skiffle skittering audio elements blend for an intricate tapestry of different noises, but overall the atmosphere is one of horizontal reclining chill, and of unknown locations only limited by where your imagination can take you—the title suggests something that the band had in mind, but its lonely expansive feel, the focused yet wandering jazz of it all, is a clarion call for conjuring mystical cutscenes.

As the song kicks in proper, the plaintive saxophonic hook twists and meanders over the smart snapping drums that bounce throughout, the rimshots and tom hits and the metallic skiffing of the cymbal, the veil of rhythm that works as the misty mainstay of the track. Guitars that sweep distant distorted chords wait their turn through a bass solo where the beat loses momentum and seems to melt before you, evocative as sliding into warm water, the blues-tinged virtuoso of the guitar crinkling and winding into peals of piano. Emotion abounds, the drums now at their most glimmering glitter sprinkling gold as now the warm tones of the saxophone fall back in and eventually grooving into that first melancholic hook with which the song began. A haze of restrained prodigy, the mastery of creating a sense of otherworldliness truly abounds here.


  • πŸ”” 'Eastern Caravan' is the opening song to Cosgrove's recently released album Volume 1., which you can now purchase from iTunes should you wish to do so.


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