11 November 2019 (released)
He also creates some stirringly beautiful music – the same music.
The new album is a little different from either of his last two albums – ‘Omerta’ & ‘The Fermi Paradox’ – in that he has stripped it back and the whole album features only himself and Rachel Dawson (cello).
The sound verges on ambient but the combination of electronics and acoustic instruments generates a chilling and reflective space for the listeners mind to delve into and explore. It is more a musical art installation than conventional music but in this case the pictures are in your own mind.
The intention is to trigger memories in the listener, the music being not so much a guide as a series of triggers that can take the listener’s mind back to anywhere in their own timestream.
He is not trying to get you to see his visions and memories but your own. I found that my mood triggered different memories for the same ‘tracks’ so that the album became a tool for different experiences and recollections.
The music, in the main, is sparse, rhythmic and features pinpoints of musical starlight.
The soundscape is huge but it is an immersive experience and once you are ‘inside’ you can wander all over the space in front of you.
I found this almost impossible to describe in purely musical terms. I didn’t so much listen to it as imbibe it.
It isn’t an album for casual listening to but it is a powerful piece, unique to the listener and all the more remarkable for all that.