Showing posts with label ocean. Show all posts
Showing posts with label ocean. 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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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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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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Jim West Internet Presence ☟
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Kazu Matsui Internet Presence ☟
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Saturday, 31 July 2021

ROGER LINDAHL — SEASONS IN THE MESOPELAGIC


The mesopelagic zone begins at a point deep in the ocean where only 1% of light filters through, and ends where there is no light. The prospect of such a place is terrifying — the pressure, the darkness, the blobfish — which is why Swiss artist Roger Lindahl’s exploration of it is all the better.

Rather than submerge listeners in these baleful depths, Lindahl’s ‘Seasons in the Mesopelagic’ is a natural history museum in miniature; an indistinct, four-note bass keeps things civic, like the calculating eyes of gallery-goers, while before them floats an adumbral ambient symphony.

Slow, bubbling, and splashed with a harsh yet hazy wash of sound, the sweeping soundscape from Lindahl’s submersible is superb.


  • πŸ”” 'Seasons in the Mesopelagic' by Roger Lindahl is the inaugural release of Unmade Records, the new sub-label of Zurich’s Red Brick Chapel. You can stream and/or purchase it on Bandcamp.
  • πŸ”” Roger Lindahl is actually the alter-ego of Florian Schneider — part Jacques Cousteau, part Brion Gysin, and named after a character in Philip K. Dick’s Puttering About in a Small Land (1957).

    "I first started thinking about the [upcoming album] Pacific Dream Machine around 1954 as a device to induce a hypnagogic state when listening with your eyes closed by stimulating the alpha waves in the brain. The first tests on tape were promising, so I hope it helps you too," says Lindahl.


πŸ“ 
Roger Lindahl Internet Presence ☟
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