After a lot of consideration, I have decided that now is not the right time to release Aeolian Landform. This blog must get quite tedious with its constant ‘New album! Wait, no, actually, I’m not going to release it’ contradictions, I suppose it would be more sensible to say nothing about a release until it’s concrete and finalised. Either way, I just don’t feel comfortable releasing the album this year. With the direction I’m going to be taking in the future, and the releases of Safernoc and Since Every Hour Is Too Late, it feels very out of place and not at all representative of who I am as a person and a ‘musician’. Maybe it’ll re-appear one day in the future, or under a different name. I’d like to think so, as it is rather good.
I have been enjoying some slightly more avant-garde sounds lately. Nothing too far out (I did listen to Markus Schmickler’s Sator Rotas earlier, but it didn’t sit right with me at all), but the sample and field-recording manipulations of Xedh, Mystified, Christopher Bissonnette and M.Rosner have been ticking the right boxes since I’ve been in Brighton. I also really, really want to get ahold of Kerkville’s ‘Days’ album – but I suppose that must wait until I have money!
Since Every Hour Is Too Late news soon!
A quick change to update the ‘future of Second Thought’ position, as I feel like clarifying some stuff and getting some info out there! The follow-up to Safernoc situation is a bit confusing, after much assessment and re-arrangement of music. Either way, the album has two follow-ups, sort of. The first is Since Every Hour Is Too Late, the collection of works for strings, piano and synth which follow on from the neo-classical moments on Safernoc. That was due out in August, but will hopefully be out sooner – some time in the summer. The other record expands on the sounds introduced on Send More Bees, Night Train, Savernake, Moss and Aqueduct; the first half is ‘ambient dub’, and the second half focuses on synth work and Berlin School sequences. That will be out before the end of the year (I’m hoping September/October). They will both be on CDr + download format through Bandcamp.
Why say all this now and why get them out so soon? Some recent listening and experiences have given me chance to assess my music in a more considered way than I have before. In particular, I had the closest, most in depth listen to Lifeforms that I’ve had in years, and was staggered at how well the mixture of samples and synths works on that album. On top of that, there’s this from my friend Themis’s label Triple Bath. The piece comes entirely from guitar. Lastly, some trawling through my old work for various reasons has really shown the difference in my older, sample-based work and the very synthetic textures of Aeolian Landform. Much as I am proud of the album, it feels less personal and individual to me, and I really want to get back to working with audio, taking acoustic sounds, editing, filtering and changing them and making my own music from that. There’s also been a lot of emphasis on composition and performance lately, and I genuinely miss working with loops and samples in the way I used to. So once I start composing again, later in the year, I’ll be doing that again – starting from scratch, with new software to learn and a whole new range of samples to mess around with. In the meantime, I’d like to get these records all packaged up and out of the way, while letting everybody get the chance to hear them. Also, one potential show in July aside, any future live sets will probably be quite different in style to the dancey synth fest of my last couple (and the improv that will be heard some time in the future). I’ve had a lot of fun with synths, dance music and such lately, but I think it’s about time to get back to forging my own sound again.
Music I’m listening to and would recommend you listen to:
Roddy Woomble – The Impossible Song and Other Songs
4m33s – Time
Somnarium – Frost
Wire – Red Barked Trees
The Future Sound of London – Lifeforms
Been working on a few tracks recently, in an attempt to align my Berlin School influences with my more contemporary sounds. It worked on Aqueduct, but the Berlin style pieces I’ve worked on since have been much more in an attempt to recreate that sound rather than incorporate it into other things. Most of these should turn up on Awakenings compilations over the next year. Anyway, this week I’ve worked on a sequence-based piece with lots of modern sounding pads on top, and something which sounds a bit like Biosphere with mellotron, which works a lot better than that sounds.
These will probably end up on the album due at the beginning of next year (album #5, number fans), which is heading towards completion at quite an alarming rate. However, this has given me the opportunity to plan a little time off from music making over the spring and summer, which might do me some good as I really do need to spend time away from the computer – difficult when I have a half-finished album just dying to be completed. I might focus my attention on listening to music for a while rather than writing it! Anyway, we shall see…