038/100 - “memoirs: to dust”

Fletcher McDermott creates exceptional ambient sound-sculptures under the pseudonym of twincities. His recent release - “memoirs: to dust” - is a wonderfully textured recording that I found deeply moving.

I consider McDermott’s appreciation of sound to be remarkable. This is music to feel as much as to hear, a collection of the incidental and the accidental that he has combined with neo-classical instrumentation, drone-based ambience and a level of forward-thinking creativity to make something so utterly tactile that it leaves me speechless.



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Why only 100 words?

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037/100 - "Fortunate Fall" by Audrey Assad

Within the Christian tradition, we have largely abandoned expressions of Lament and of quiet reflection, and willingly become entrapped in happy-clappy, feel-good, self-centredness, self-medicating muzak. The "me me me" of modern worship music leaves me cold. It doesn't express how I feel, certainly not in the way Audrey Assad does on "Fortunate Fall", an album of powerful spirituality.

“Fortunate Fall" is an album I have taken great comfort in lately, Assad sings for all those whose experience is less than rosy. And for that I am grateful, glad to know there are others of similar mind.

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Why only 100 words?

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036/100 - "LP1" by FKTwigs

"LP1" by FKTwigs is an compelling proposition: super-sexy, soulful vocals that are underpinned by inventive, bleeding-edge electronics and sparse production ... a heady, intoxicating combination of the familiar, the new and the complex.

Topically, this is the sensual soundtrack to a late night rendezvous ... musically too: "LP1" is both intricate and delicate, making it the perfect aural accompaniment for those special moments when a degree of discretion is required.

Not for everyone and not for the easily offended, "LP1" is one for adventurous souls, people unafraid to express their passion, their devotion in the company of their significant one.

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Why only 100 words?

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035/100 - “Death Leaves A Bright Trail” by TIDINGS

“Death Leaves A Bright Trail” by Edinburgh-based post-metallers TIDINGS is an exceptional album that has, quite simply, renewed my faith in instrumental rock music with their firm focus on melody and an almost obsessive dedication to dynamics.

Like all good post-rock experiences, theirs is music to lose yourself within ... expressive soundscapes of such eloquence that they capture both heart and mind almost instantaneously ... and of such length that you, the listener, are afforded sufficient time and space to immerse youself completely, a baptism of sound, so to speak.

This is why I adore the genre so much.

034/100 - “Time, Love & Tenderness” by Michael Bolton

We all have our guilty pleasures and Michael Bolton is mine. I blame my Olwyn, she introduced me to his epic power ballads and heartfelt love songs like a musical “pusher”:

“One listen won’t hurt you?!?!”

“Time, Love & Tenderness” is my favourite album of his. Ten tracks of total early nineties cheese that I always find myself singing away to when it comes on. The title track, for example, is singalongtastic and emotionally connected to so many wonderful moments in my life, all with my Olwyn.

I guess this is one pleasure I no longer feel guilty about.

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Why only 100 words?

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033/100 - "Prince Avalanche" score by Explosions in the Sky and David Wingo

The "Prince Avalanche" score by Explosions in the Sky and David Wingo, is a delight. It is a calming, predominantly acoustic piece of music that makes me smile whenever it comes on.

I like the fact the soundtrack sounds different from the typical Explosions in the Sky sound of atmospheric and, at times, frenetic post-rock ... and yet it effortlessly fits in their body of work.

I can’t downplay David Wingo's influence, however. Cutting his teeth as part of indie rockers Ola Podrida, Wingo has helped shape a stunning piece of music for a film I am yet to see.

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Why only 100 words?

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032/100 - "Hotel : Ambient" by Moby

I have a lot of love for Moby and his ambient version of "Hotel" is a remarkable musical journey.

Not available as a specific release in the UK, I was able to get a copy of "Hotel : Ambient" thanks to Brad from Free Floating. The emotive synth-based music presented is certainly ambient in the sense of creating wonderful atmosphere but there is so much more going on than just ambient as a musical genre: there are, for example, techno elements or Moby's trademark downtempo percussion to upset any beatless purists.

Moby can’t be defined by any one genre and neither can "ambient" music. Just as he is so much more, so too is ambient.

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Why only 100 words?

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031/100 - "The King of Limbs" by Radiohead

When "The King of Limbs" was released by Radiohead in 2011 I jumped at it. I hoped it would sound like "In Rainbows" and was initially disappointed that it didn't have a more conventional sound.

However, I gave it a chance. I kept on listening and now I love it.

Why do I love it when so many folks don’t?

“TKOL” has a wonderfully amorphous sound that just doesn't sound like anything else. Imagine if the more "out there" proponents of 70s Krautrock were developing their sound now and you’ll come close.

I do love how Radiohead keep reinventing themselves.

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Why only 100 words?

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030/100 - "Tron Legacy OST" by Daft Punk

Following on from such an iconic soundtrack is hard but Daft Punk's backing for "Tron Legacy" is more than capable.

A delicious amalgamation of the electronic music Daft Punk were known for before they went "disco" and solid, sweeping, emotive orchestration; the music that backs the Tron sequel is a modern classic. It sits as well on its own as it does as an accompaniment, in fact I got to know it before I saw (and loved) the film.

It is a powerful record from start to finish with Jeff Bridges' monologue at the start the icing on the cake.

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Why only 100 words?

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029/100 - John Williams' score to Star Wars - A New Hope

There is something iconic about the music written to accompany Star Wars. John Williams’ score is such an integral part of the film that I cannot hear the music without picturing the various scenes that the music soundtracks.

Take “Imperial Attack” for example … the way Williams creates the atmosphere on this track is so effective, the way he expresses dynamics so profound - he turns from the loud and raucous to the pastoral almost instantaneously … it is a remarkable experience.

This makes Williams’ score more than just a great soundtrack … it is a truly classic orchestral work worthy of your attention.

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Happy Star Wars Day!

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Why only 100 words?

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