The next few weeks will see the release of both Myosphere and Seltrac. These will complete the first chapter of International Debris.
Both albums feature material that was started at the time I started Bathe in the Lights of Distant Cities, and pretty much everything released since then – Anxiety, Ambifauna, Thursday Morning Taylor Swift, Estuary, and my vaporwave material – has been part of the same recording sessions. There are many tracks which were initially intended for one album that appeared on a totally different one. Although all the records have individual themes and atmospheres, in my head they all occupy the same space. This level of overlap is totally unlike anything I’ve done before.
A couple of months after tidying up all these, I returned to work and pieced together Timewyrm, Mistral and Opaline, partially from unfinished ideas and partially from new material. In some ways these form a coda to those original sessions.
I’m incredibly satisfied with how all of this has come together. Those of you who’ve been following this blog for a while will know that for some time I went through a period of unhappiness with my output, roughly between (but not including) Canal Seven and cer. Although there are some wonderful finished albums from this period, it’s also an era in which I spent as much time restructuring as I did actually recording. Different versions of albums appeared and disappeared from various Bandcamps more times than I can remember, and there’s still a fair amount of material I’ve effectively disowned from this time.
Although I can’t stay that the creative process has been easy since starting ID – for someone with mental health problems like myself, I spend as much time loathing what I do as I do loving it – I’m incredibly happy with the state of my music since then. I’ve been able to return to a time with no expectations, simply making music I want to make, and all of the releases – particularly the main five albums and the Anxiety EP – are among my favourite things I’ve done. In many ways, my material as Ross Baker was a healing process, and ID finds me fully recovered again (which also explains why cer sounds like a cross between the two, transitional album as it was).
Once I make a full start on new material then I think chapter 2 of ID will be on the way. It will probably be different to the current (and shortly-to-be-released) batch of records, although I’m sure it’ll still sound like me regardless.
Up and at them!
Been a while since I posted an update about my music…
Ambifauna came out a couple of weeks ago, reactions have been very positive so far. It’s available directly from the label, as well as from Amazon, iTunes, Juno, Kudos and various other online outlets, as both CDr and various digital download formats.
The album itself I am incredibly proud of. In these days of uncertainty about my own music, I am really happy with Ambifauna. In some ways, it’s a concise version of everything I was trying to achieve with Second Thought back in the day, although containing a lot of new sounds. Certainly the seamless flow and segues have achieved everything I ever wanted to do with that sound.
I’ve recently been tying up the next album, which I’ve been labouring over since January. It’s been a lot more difficult than most of my albums, going through countless incarnations over the months, with about thirty tracks being considered for it in total (only seven will be on the final version). It is spiritually linked with Bathe in the Lights of Distant Cities and stylistically not that drastically different from Ambifauna; the three form a loose trilogy for me, and after this I’ll be moving off to do something different. The album should be appearing next spring at some point, more news on that soon.
After a couple of years in London, I’m actually back in Hinckley again. No matter where life takes me, I always seem to end up back here again. With all the health issues I’ve had over the last few years I’m using it as an opportunity to finally get a bit of peace and rest and hopefully recover and be able to move forward with my life as and when I’m ready.
Lately I’ve been listening to a lot of Ishq, Pete Namlook, Susanne Sundfor and Tangerine Dream…
2014 in review, I: favourite music
My top 25 records of 2014…
01. The Future Sound of London – Environment Five
02. Bedroom – Shade & System
03. A Winged Victory for the Sullen – Atomos
04. Manic Street Preachers – Futurology
05. Off Land – Quinarian
06. Aphex Twin – Syro
07. Foxes – Glorious
08. Deaf Center – Recount
09. The Birthday Suit – A Hollow Hole of Riches
10. Origamibiro – Odham’s Standard
11. HOLOVR – Holo Earth
12. Pyramids of Space – Pyramids of Space
13. Caustic Window – Caustic Window LP
14. Off Land – Voyage/Home
15. Off Land – Accitiper/Coast
16. The Long Lights – Our Waking Hours
17. Roddy Woomble & Band – Live in the Inner Hebrides
18. Off Land – Osculation
19. Nmesh – Dream Sequins
20. Hakobune/Sim Kima – Split
21. RAGS – Belief in an Order of Meaning
22. The Original Flowering Earth – Hosshein
23. Glass Girl – What’s it All About?
24. Eno/Hyde – Someday World
25. Blackhill Transmitter – 2nd
Somehow ended up missing the new Zola Jesus, but I’ll catch up with that pretty quickly in the new year.
2014 in review, II: my music
It’s very strange to think that a year ago I’d only just released Terra Incognita – an album that I began almost a year before. It feels like a lifetime ago. Still, that was more of a side-project record (originally planned to be released under the name ‘Hello Egypt’ before I shied away from the idea at the eleventh hour), and I spent the first half of the year making progress from my 2012 records – stripping the acoustic sound right down for Two Suns and its related mini album Periphery, before building up with more electronics once more on cer. The first two of those were released on a couple of ambient labels I have great fondness for: Flaming Pines and Twice Removed. These gave me a rather nice amount of exposure – just in time for me to sabotage in it typical style by another style and name change.
There are several reasons for changing from Ross Baker to International Debris, but the main two are wanting to get out of the ruralist corner I’d painted myself into with my own name, and wanting to freely work with others. The second half of the year was spent recording ID material, of which about five hours’ worth has been completed. From this bulk have been assembled two albums: Bathe in the Lights of Distant Cities (due out in January on Metaphysical Circuits), and a second entitled Ambifauna, due later in the year – more news on that soon. Ambifauna in particular I am incredibly proud of, and much of this material is the best I have ever recorded. I have worked with six different musicians on these sessions, and will be working with many others in the next year on future material. The creative decisions I’ve been making over the past few months have given me a certain sense of freedom with my music, and I’m looking forward to exploring that further.
More news in 2015! Happy holidays 🙂