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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028/100 - "Ghosts Upon The Earth" by Güngör

"Ghosts Upon The Earth" by Güngör follows in a similar vain from "Zion": it is a pleasing, joyful noise filled with themes of Christian spirituality and yet is somehow something more ... a progressive album that crosses multiple genres exceedingly well ... folk and post-rock, in particular, are deftly presented.

What makes this, Güngör's second album, so appealing are the vocal harmonies from Michael and Lisa Gungor. They complement each other and the music brilliantly, taking great sounds and making them even better.

I can't think of another album quite like it ... it has all I want from spiritually-inspired music.

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027/100 - "Zion" by Hillsong United

I don't get on too well with music labelled "Christian". This is due to what I perceive is the lack of creative expression. There is, afterall, a narrow field for an artist to develop their unique voice within.

However, there are a few albums that do manage to stand out, at least as far as to grab my attention. "Zion" by Hillsong United is one such album - their redemption songs are underpinned by wonderfully vibrant and dynamic electronic-infused post-rock soundscapes.

Hillsong United make a pleasing, joyful noise on this album, I always feel uplifted when it comes on.

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Why only 100 words?

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026/100 - "Sleeping Tapes" by Jeff Bridges

Jeff Bridges is one of my favourite artists. He is an accomplished actor and photographer. He also holds a place in my heart with his album "Sleeping Tapes" where he explores spoken word infused ambient music.

Now this idea may make you convulse in horror ... Bridges even hums on one track ... but it isn't as bad as you would think. It actually makes for compelling listening.

Between Bridges’ monologues and the field recordings he intersperses his soundscapes with, I found the presentation to be compelling: I hang on Bridges' every word.

Yes ... "Sleeping Tapes" is weird but that's the point.

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http://www.dreamingwithjeff.com

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Why only 100 words?

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