Today, pioneering electronic musician and producer Prefuse 73 aka Guillermo Scott Herren releases the new single, “The End Of Air,” from his new album, New Strategies for Modern Crime Vol. 1, out March 22nd on Lex Records. One of the darkest yet cohesive releases of his career, New Strategies for Modern Crime Vol.1 was inspired by Herren’s experiences of living in New York. He reflects: “I’ve lived in NYC since the 90s but I think during the post-COVID era, most ‘media’ has become obsessed with crime statistics and inflated ‘fear’ over basic human needs. I wanted to channel this surreal landscape – where crime has become a strange form of entertainment and journalistic distraction into sound.”
“I always have a movie or some random visuals playing on mute behind me in the studio,” reveals Herren of his creative process. “It could be horror from any era or just an old Fellini film; they tend to be playing on a loop. I will turn around from the mixing board and just stare at the images to get inspired.”
Talking with the excitement of someone working on their first ever album, the re-energized veteran (once described by Pitchfork as an artist who possessed “a range of emotional grappling usually foreign to instrumental hip-hop”) adds: “It means that when you do finally hear my music, it’s hopefully created in a way that prompts you to see a whole scene play out in your head.”
This cinematic method of creating an enticing gumbo of lost soundtracks, jazz, primitive electronic production and hip hop is especially prevalent on his bold new album, New Strategies For Modern Crime Vol. 1, which sounds like the score for a surreal Robert Siodmak noir set in the year 3000
Whether pairing up MF DOOM and Aesop Rock to have a lo-fi rap existential crisis; bluntly bending an innocent Linda Perhacs psych-folk song about swirling raindrops, so it sounds more like a lost alien signal filtering in from a techno rave on another galaxy; or using the sounds of kids banging their rulers and pencils on a school table to create DIY euphoria and an innovative mimicry of Doug E. Fresh-level beatboxing, Herren (who has also operated creatively under aliases including Delarosa, Asora, and Piano Overlord) has been a consistent innovator. Having collaborated with a diverse array of artists, including MF DOOM, Ghostface Killah, GZA, El-P, Sam Prekop, Helado Negro, and more, his work reflects a constant evolution, with each album offering a new perspective on the intersection of electronic and hip-hop music.
Whether New Strategies for Modern Crime Vol. 1 paints a vivid, Philip K. Dick-esque movie in your mind or not, it’s clear the artist known as Prefuse 73 is continuing to push forward artistically.
If you’re Nick Schofield, how do you follow up your beautiful ambient album Glass Gallery? Do you create something similar and explore more themes of mediation and presence?
The answer is “Yes,” but you decide not to do it alone this time. On Ambient Emsemble, you get other musicians to join you. You bring in clarinets, violins, vocals, piano, and other folks who click with you right away to create another lovely record that can transport you out of whatever malaise you might be feeling (in my case, at the time of writing this, dealing with COVID).
“Meadow” is a bit of an introduction to the record, almost like a warm breeze coming over a hill. “On Air” makes you feel like you’re floating on it. The clarinet work makes you feel like a bird coasting on air currents. “Hazen” is chilled synthwave with a bit of a dramatic flair.
“Fine Tune” and “Joy Cry” are a bit hypnotizing. You tend to lose a sense of time and space when giving them a deep listen. “Bouquet” puts the orchestral elements at the front and lets them shine. “Mourning Doves” and “Resonant World” are a nice duo, as they almost float together instead of being two separate pieces. The strings on “Heartfelt” are like fog rolling over a mountain lake.
“Picture Perfect” was the lead single from Ambient Emsemble, and it was a good choice. It’s a bit upbeat and a great way to start a morning yoga routine or even just a cup of tea. The plucky strings and flirty flute on “Undertone” are delightful. “Key Bed” closes the album with soft keys and synths, almost like a lullaby.
Scholfield’s knack for transporting you to lovely places within and without is impressive, and this album is another good example of his talents.
Keep your mind open.
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[Thanks to Gabriel at Clandestine Label Services.]
Distant piano, vintage synths and faded orchestral arrangements resounding in spacious natural reverb. Nick Schofield’s Ambient Ensemble sees the Canadian composer and synth maven expanding his solo practice with an ensemble, adding his signature ambient essence to contemporary-classical and electronic music.
Where his previous two albums (Water Sine, Glass Gallery) were entirely solo endeavours and synth-focused, Ambient Ensemble invites gregarious group play. The compositions feature a chamber ensemble of grounding double bass and sliding fretless flourishes, warm violin and soothing vocals, with convivial accents of clarinet. Compelled by natural elements and intuitive composition, Ambient Ensemble is a refreshing assembly of acoustic works by Nick Schofield.
In January 2020, the album began with patient piano improvisations recorded in a church during deep Canadian winter nights. The sparse piano sketches were then slowed to half-speed and layered with classic Moog and Juno-6 synthesizers. After the project received funding from the Canada Council for the Arts in 2023, the ensemble was formed with luminaries of the Gatineau/Ottawa music scene, featuring Yolande Laroche (voice, clarinet), Mika Posen (violin) and Philippe Charbonneau (fretless electric bass, double bass).
Citing the blissful spaciousness of pioneering new age flutist Joanna Brouk as a central inspiration, Ambient Ensemble lands delicately within the contemporary cannon alongside artists like M. Sage, Blue Lake, Ana Roxanne, and Joseph Shabason.
Regarding his newest single, “Picture Perfect,” Schofield says: “Picture Perfect is my most upbeat ambient song. It features pulsing piano, sparkling synths and swelling string arrangements – all recorded in a church with naturally resounding reverb.
The song is about envisioning perfection, while also recognizing the perfection of the present moment.
This piece shows the trajectory of my music, from working solo with synthesizers to incorporating acoustic instruments with an ensemble.
I wanted to work with acoustic instruments and an ensemble of musicians after hosting a concert series at Resonance Cafe in Montreal (which is sadly now closed) from 2018-2020 called Ambient Ensemble where I invited small ensembles of local musicians to improvise over my ambient music. It was beautiful and playful, full of serene surprises. The series featured so many amazing musicians – I was joined by label-mates Pietro Amato, Michael Feuerstack and Sarah Pagé, as well as Thanya Iyer, Austin Tufts, Eve Parker Finley, Sean Michaels, Alexei Perry Cox, Desert Bloom, Adam Kinner, Sarah Feldman, Justin Wright and many more. This new album is my way to produce the ‘Ambient Ensemble’ concert series on record. I am in love with how the album turned out because it is equally playful, serene and full of surprises that I would have never come up with on my own – just like the concert series.“
Keep your mind open.
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[Thanks to Gabriel at Clandestine Label Services.]
Putting a contemporary spin on baroque composition, Astrid Sonne’s music feels at once alien and traditional. The Danish, London-based composer’s output is aloof, yet ornate—a formula that yields itself well to upcoming UK tour dates with beloved dream-pop artist and scene-mate, ML Buch.
Where Sonne’s prior work landed in the experimental, even ambient camp, the new material sees her stepping into both contemporary songwriting and beat driven productions. Her new single “Boost”, premiering on Gorilla vs. Bear today,is a perfect example of the latter, pushing into more eclectic, driving terrain. It opens with woozy synth chords, which give way to pounding drums that filter in and out of murky effects. In the final minute, the track disintegrates into a misty, freeform outro.
“Boost” concludes a run of candidly released material (“Staying here,”“Overture,”“Do you wanna”) from the recently announced album Great Doubt, which notably features the composer’s own voice in a unique blend of quintessential Astrid Sonne productions and a personal take on the art of writing a song. Great Doubt will be released January 26 via Copenhagen’s Escho.
On the single, Astrid Sonne shares: “I made Boost lying in my bed, it’s a quite energetic track coming from a not very energetic place. There’s a sense of release to Boost and a feeling of not caring too much, which can be good sometimes when you need to seek out new settings.”
Astrid Sonne is a Danish, London-based composer and viola player. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On her forthcoming album Great Doubt, to be released January 26, 2024 via Copenhagen’s Escho, this skill is refined, now with the distinct addition of the composer’s own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey’s 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories.
Live Dates 2/3 – Oslo, NOR @ Trekanten 2/6 – Copenhagen, DK @ ALICE 2/8 – Aarhus, DK @ PART 2/14 – Barcelona, ESP @ Casa Montjuic 2/15 – Lisbon, PT @ ZDB 2/27 – London, UK @ ICA *2/28 – London, UK @ ICA *2/29 – Bristol, UK @ Strange Brew *3/01 – Manchester, UK @ White Hotel *3/02 – Glasgow, UK @ The Flying Duck * * = w/ ML Buch
Light in the Attic Records (LITA), in cooperation with Laurie Anderson and the Lou Reed Archive, proudly announces a definitive reissue of Reed’s Hudson River Wind Meditations, out January 12, 2024. Originally released in 2007, the deeply personal project provides the best example of Lou Reed’s decades-long exploration into drone and ambient music, as well as the pioneering artist’s final solo album.
For more than five decades, Reed (1942-2013) never stopped exploring new creative avenues. From his broadly influential albums with The Velvet Underground to his groundbreaking solo works, the two-time Rock and Roll Hall of Famer remained stylistically fluid as a singer, songwriter, musician, and poet. Reed experimented with minimalist drone feedback music in the early 60s while in the Velvet Underground, and released the highly provocative double-album Metal Machine Musicin 1975. From there he further developed his passion for drone music using both guitar and keyboards, including “Fire Music” on The Ravenin 2003. This experimental side of Lou’s musical life led to Hudson River Wind Meditations in 2007, and after that, live performances with the Metal Machine Trio and trios with Anderson and John Zorn. Reed was also a spiritual being, who devoted his later years to Tai Chi and routinely integrated yoga and meditation practices into his life. It was inevitable that his two passions would eventually mingle. Inspired to create a soundtrack for these quiet – yet powerful – exercises, Reed composed four compelling works, which comprise his 20th and final solo album, Hudson River Wind Meditations.
Released in 2007, the ambient compositions were initially created for Reed’s personal use, to accompany spoken-word meditations that his acupuncturist recorded for him. Over time, they transformed into music for Reed’s beloved Tai Chi and yoga practices. Eventually, the artist chose to share them with his fans, crafting them into an album with the late producer Hal Willner (Saturday Night Live).
Available for pre-order today on 2-LP, CD, and digital, Hudson River Wind Meditations has been produced for re-release by GRAMMY®-nominated producers Laurie Anderson, Don Fleming, Jason Stern, Matt Sullivan, and Hal Willner; restored by GRAMMY®-winning engineer Steve Rosenthal; remastered by the GRAMMY®-nominated engineer John Baldwin with vinyl pressed at Record Technology Inc. (RTI). The 2-LP and CD sets are presented in a gatefold jacket designed by GRAMMY®-winning artist Masaki Koike and features new liner notes by renowned Yoga instructor and author Eddie Stern, who guided Reed’s practice for years. Also included in the physical editions is a fascinating conversation conducted earlier this year between author/journalist Jonathan Cott (Rolling Stone, New York Times, The New Yorker) and Anderson, who discusses Hudson River Wind Meditations, as well as her husband’s devotion to Tai Chi — one of the album’s primary inspirations.
The 2-LP is available in three different vinyl variants, including Black Wax, Coke Bottle Wax and Glacial Blue Wax, while the Deluxe Edition includes the CD or 2-LP, a set of five 8×10 photos of the Hudson River photographed by Reed and printed on 10-pt High Gloss Kromekote C1S cover stock and housed in a glassine envelope, plus a 24”x36” fold-out poster designed by Yolanda Cuomo.
“Listening to Hudson River Wind Meditations as a whole piece is moving through several modes and states of a sixty-five-minute meditation,”explains Anderson. Echoing that sentiment is Stern, whose weekly sessions with the musician always included Meditations. “The sounds immediately drew you into an inner flow of awareness; something was happening with the music, but at the same time something was happening inside of you,” recalls Stern. “As Lou began to move with the yoga postures and began to deepen his breathing, the sounds of Hudson River Wind Meditations moved with him or, perhaps, just simply moved him.”
Meditations were also composed with the musician’s Tai Chi practice in mind. Anderson shares that Reed’s teacher, “[Master Ren GuangYi] was one of the main forces in Lou’s life, and Lou wanted to express that, to honor him.”She adds that when Reed initially shared the music with Master Ren, many of his pupils were hesitant about the modern compositions. “The music wasn’t well-received at first,” she reveals. “But Master Ren… kept playing it, and then, eventually, people were agreeing. ‘This is the best thing we’ve ever heard for Tai Chi.’”
Hudson River Wind Meditations is comprised of four parts: “Move Your Heart” and “Find Your Note” (both of which clock in at around 30 minutes each), plus two shorter selections: “Hudson River Wind (Blend the Ambience)”and “Wind Coda.”
The original release of Hudson River Wind Meditations included a brief introduction by Reed, in which he wrote,“I first composed this music… to play in the background of life – to replace the everyday cacophony with new and ordered sounds of an unpredictable nature.”
Anderson muses,“I guess by ‘life,’ he meant something like what Brian Eno might mean – ambient music that colors the air in very interesting ways. For me, it resets my brainwaves.” She continues, “In Tibetan Buddhism teachings, heart and mind are the same word – citta – close to the chi of Tai Chi, which is pure energy. This music is pure energy; it breathes in and out. It’s not like here’s the beginning: dum da da! And now it develops, and now it ends! Rather, it’s one long loop that keeps changing in subtle ways.”
Similarly, Stern writes, “We exist in a continuous flow of creation…But underneath all of that is the steady, ever-present current of life that is what makes us alive and pulses in us like a gentle drone, the drone that Lou has so aptly captured through [Hudson River Wind Meditations].It’s the harmony that you keep with you once you leave the Tai Chi practice room, the harmony that whispers its music after you finish your yoga practice. It’s a song, and you only hear that song when you listen.” He adds, “On more than one occasion – and I don’t know if it was true or not – Lou said, ‘I don’t even know how I made this, and I couldn’t repeat it if I tried.’ How marvelous that is, to make a piece of music so profound that it can’t be repeated yet has been captured for future generations to enjoy.”
This one came to me fairly early in the year and was an immediate favorite. It’s full of jagged guitar lines, weird drum fills, and plenty of power equal to the cosmic cover imagery.
Speaking of heavy cosmic riffs, this album from Auralayer is full of them and plenty of Buddhist philosophy to boot. This trio about floored me when I first heard this album and were one of my favorite discoveries of the year.
Would it be a “best of” list without a King Gizz album? I mean, they release at least two albums a year, and this year they released an electro / krautrock album full of synths and drum pads that turned out to be a fun time. You can tell they enjoyed stretching muscles they don’t often use, and they filled it with references to Egyptian mythology, which just made it weirder and cooler.
Yes, that’s the same cover image, and it’s almost the same album, but KGATLW decided to release two versions of the same record, with the extended version having long mixes with additional lyrics for each song – the short of which is just under eleven minutes long. It’s even better than the regular edition of the album and lets them do lengthy synth-jams that often move into rave territory.
Speaking of long synth-jams, Ki Oni‘s tribute to his deceased grandmother and his meditation on peace and death has tracks with minimum lengths of seventeen minutes, and all of them are beautiful. This is the kind of record that takes you away from anything you’re doing and drops you into a warm pool of peace and presence.
Who’s in the top ten? Come back soon and find out!
Ki Oni (Chuck Soo-Hoo) set out to create an ambient album about spirits transitioning from life to death, perhaps wandering the world for a while, and eventually floating into something we here on this side of the veil can’t quite yet fathom. He not only succeeded in doing it, he excelled at it with A Leisurely Swim to Everlasting Life.
It’s difficult to describe how gorgeous this album is. It’s at times lush and other times as subtle as a whisper. Nothing is rushed across its five tracks. The shortest one, opening track “An Infinite Dive,” is fifteen minutes and twelve seconds long. “Floating in a Stream of Consciousness” is perfectly titled, as it’s a collection of the sounds your brain is trying get you to hear as you remain in the eternal present, but you’re always too busy or worried to pause and observe all this amazing creation coexisting with you.
According to the press release I got for this album, “Reincarnation at the End of the World” has Soo-Hoo wondering, “With everything going on in the world –– and if reincarnation is real, where would a spirit go if the world ended suddenly? What would that sound like? Would it continue to float on this deteriorated earth until new life begins or would it float forever into the abyss?”
It’s an intriguing question, and my answer is that we’ll be free from worry wherever we are. Soo-Hoo’s synths, field recordings, and loops emulate a blissful ghost drifting here and there, no cares, no stress, no extraneous thoughts…just calm bliss.
“My Grandmother’s Garden” is a lovely tribute to Soo-Hoo’s late grandmother and the days he used to spend as a child swimming in her pool and eating food she’d grown. “To Wander Beyond the Aquatic Center” ends the record with a song perfect for the cover image of a true infinity pool stretching out into a misty pink sky as birds soar overhead. We should all hope to hear something this lovely as we go into sleep, whether for a night or forever.
This album, this leisurely swim, is something we all need from time to time. We need to immerse ourselves in the present and reconnect with the beauty that is right there calling to us and being enjoyed by those who have gone before and will greet us after we come up from our dive in the pool.
Keep your mind open.
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To simply put it, trumpeter / composer / bandleader Matthew Halsall has created one of the most beautiful albums of the year with An Ever Changing View.
Combining jazz with spiritual music, world music, ambient electronica, and maybe a touch of synthwave, An EverChanging View drifts like a bird gliding over the waters of the album’s cover, or caresses you like wind through the grass on the album cover’s foreground. Halsall has described his writing process for the album as “hitting the reset button,” and “a real exploration of sound.” Both are accurate, because the album instantly resets you wherever you are and during whatever you’re doing. It’s also like finding an oasis or a garden or a library or a back room chill lounge when you need any of those things the most.
After a brief intro (“Tracing Nature”), the record gives you a nice hug and invites you to have a cup of tea and just forget about everything for the next eight minutes with “Water Street.” Harp, flute, trumpet, and hand percussion all meld in perfection. The title track clicks and snaps with late night jazz beats and Halsall’s trumpet echoing from some rooftop club where they have cool drinks and warm people.
Jasper Green‘s Rhodes organ on “Calder Shapes” is as smooth as melting wax and Matt Cliffe‘s alto sax is practically the voice of a jazz crooner. “Mountains, Trees and Seas” is instant stress relief, and, I dare say, perhaps the sexiest song on the whole album. I’m not saying the song will guarantee you’ll get laid, but it will certainly enhance the mood. Liviu Gheorghe‘s work on the Rhodes organ is superb throughout the whole track.
If you somehow need further resetting, “Field of Vision” is just over a minute of bird song and harp-like field recordings. “Jewels” might be the closest to a “dark jazz” (Is that even a thing? If not, Halsall might’ve invented it right here.). “Natural Movement” is a splendid, toe-tapping mix of Halsell’s trumpet, Sam Bell‘s congas, and harp work by Alice Roberts. Lastly, Chip Wickham‘s flute on “Triangles in the Sky” picks you up from the ground and Alan Taylor‘s simple, snappy, yet subtle beats carry you along as you stroll down the street about two inches off the pavement.
You need this record. Heck, everyone in this day and age needs this record. It soothes the soul. It’s probably going to be the most gifted music I buy for people this Christmas season.
You know you’re onto something when Carlos Santana calls your album “a work of supreme creativity.”
That’s how he referred to Nevaris‘ album Reverberations – a great album of dub, trip-hop, and world beat music put together by percussionist / keyboardist Nevaris and a great lineup of musicians including producer / bassist / legend Bill Laswell, DJ Logic on turntables, Will Bernard and Matt Dickey on guitars, Lockatron on drums, and Peter Apfelbaum on horns and additional keys.
The album had me hooked within the first twenty seconds of its opening track, “Dub Sol.” The sexy horns, panning beats, and incense smoke bass lured me into an exotic desert tent where you are sorely tempted to stay the rest of your life. “Disruption” has some of the best horn arrangements on the record from Apfelbaum, and DJ Logic gets to strut his scratching stuff as well on the track.
Laswell’s excellent dub bass returns on “Ninth Sun,” which also percolates with plenty of weird, trippy effects created by him. “Remedy” could easily fit into a mystery film set in Jamaica, while “Interference” would slide easily into a Bond film soundtrack – particularly a scene in which Bond enters an exotic casino in order to set up a trade of valuable information and ends up in a dangerous situation that’s either going to get him killed or laid.
It’s only appropriate, then, that the following track is called “Safehouse,” and we can imagine Bond making it out of the casino in one-piece and kicking back with a lovely lady in a backroom lounge at a Kingston restaurant. The track instantly puts you in a calming place with synth effects and reverberated beats that slow you down and bring you some much-needed chill.
“Frequencia” thumps and bumps in all the right places, with DJ Logic’s subtle scratching mixing well with the hand percussion and Hammond organ riffs. The closer, “Lockatronic,” gives drummer Lockatron plenty of time to show you how he locks it down and puts the whole band in his back pocket. He absolutely snaps every beat.
I love experimental, almost ambient dub albums like this. It’s solid.
The New Yorker once dubbed Norwegian DJ and producer Lindstrøm as “the king of space disco.” That’s as good a description for him as any I could dream up, and it’s epitomized in his latest record, Everyone Else Is a Stranger, which is full of neat rhythms, pulsing synths, and a vibration to it that seems to defy gravity.
The first few seconds of “Syreen” alone are designed to fill dance floors with the synthwave beats and inspiring electric piano notes. “Nightswim” is perfect for just such an activity at your lake house or a Las Vegas rooftop pool. It instantly makes you feel cool and sexy, but not so much that you turn into a “trying too hard to be cool” d-bag. He finds that sweet spot of “Let’s have fun and be sexy and cool with each other. No bad vibes here, just love.” The whole record is like that, really.
I can’t help but think Lindstrøm was influenced by Giorgio Moroder (and who isn’t, really?) when I hear the opening synths of “The Rind” – a neat synthwave track that prepares you for dancing, sparring, or shagging with an android (possibly all three). The ending title track is like a ten-minute cool-down meditation after the dance fest that’s been happening for the previous three songs. Lindstrøm has always excelled at evoking dreamy imagery in his music, and the title track is a fine example of that craftsmanship.
I also like the title of Everyone Else Is a Stranger. Except whom? Well, you, of course. You know who you are. You’re whomever is touched and moved by this record in anyway. He made it for you. Don’t refuse the gift.
