Boomkat Product Review:
This is f×cking amazing - a second volume of desolate, ambient themes from David Lynch’s sound designer and mixer of choice Dean Hurley, one of those behind-the-scenes guys whose work most subtly colours the popular imagination. If you’re into anything from Deathprod to Badalamenti to Mica Levi’s 'Under the Skin’, the more ascetic end of work from Leyland Kirby / The Caretaker, or Aphex Twin’s ’Selected Ambient Works Vol II” - this will rule your world.
Having operated and managed David Lynch’s Asymmetrical sound Studio for 13 years, Dean Hurley only appeared on our radar a couple of years ago with his sound design for the third season of Twin Peaks, and the first volume of his Anthology Resource which collected some of that work. During those 13 years - a period that began just before ‘Inland Empire’ - Hurley was basically there to create, mix and edit any sound artefacts Lynch required - a process that evidently allowed him the freedom to innovate through pretty much limitless experimentation. As a result, Hurley is now without question one of the most striking sound designers and supervisors working in film & television right now, steering well clear of overly emotive/manipulative cliche and instead focusing on the minutiae of sound in a way thay recalls the classic, pre-digital era.
His Anthology Resource is an ongoing series curated from his work for film and television in the library / production music tradition, as well as a series of albums in their own right, with this second volume 'Philosophy of Beyond’ collecting 12 pieces made in residency for Art Gallery of New South Wales’ event Masters of Modern Sound, and contributions to Eddie Alcazar's feature film ‘Perfect’ - mostly assembled from tape loops and field recordings.
While it’s fair enough to wheel out a usual list of ambient/atmospheric comparisons with ‘SAW II’, Brian Eno, Leyland Kirby, and indeed David Lynch’s own early work with Badalamenti, that’s really just to show what class Hurley is operating in - his music clearly possessing its own, menacing magick that stays with you long after the music has stopped, just like the imagery he is so highly adept at scoring.