Electric Māyā: Dream Flotsam And Astral Hinterlands
Daniel O'Sullivan
Electric Māyā: Dream Flotsam And Astral Hinterlands
Boomkat Product Review:
Æthenor's Daniel O'Sullivan reclaims the library music genre with a deliciously spooky set of soundtrack-esque drones and tones that will stick in yer head far longer than you'd expect. One for Radiophonic Workshop fans and Death Waltz devotees.
The first in a series of three albums of "library music miniatures", "Electric Maya: Dream Flotsam And Astral Hinterlands" finds multi-instrumentalist Daniel O'Sullivan grappling with the concept of library music. For a while now, the genre has come to mean a certain type of breaks record - one for the crate diggers to obsess over before sticking on discogs for ridiculous sums. So legendary library imprint KPM Music is working with an assembly of modern composers to breathe some life - and more importantly some variety - into the genre.
Daniel O'Sullivan's first entry does exactly what you'd expect, but does it so damn well it's hard to complain at all. There are dusty, giallo-esque sounds aplenty, but O'Sullivan's distant drones and evocative, exquisite near-orchestral compositions are so inviting we've been going back again and again for more. Tracks like 'Eagle Ears' will have u wondering exactly which Criterion-approved indie masterpiece it was snipped from, while 'Feathered Earth' sounds as if it was swept up from the cutting room floor after Brian Eno's 'On Land' sessions.
Hearing any artist rise to the challenge of working in short-form is a pleasure, and Daniel O'Sullivan appears to relish the limitations of the form. Each vignette is perfectly formed, whether it's plaintive solo piano, bizarre outerzone electronics, pastoral ambience, high-minded prog or spiritual drone. It's an odd mix but utterly enjoyable from beginning to end. Highly recommended.
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Boomkat Product Review:
Æthenor's Daniel O'Sullivan reclaims the library music genre with a deliciously spooky set of soundtrack-esque drones and tones that will stick in yer head far longer than you'd expect. One for Radiophonic Workshop fans and Death Waltz devotees.
The first in a series of three albums of "library music miniatures", "Electric Maya: Dream Flotsam And Astral Hinterlands" finds multi-instrumentalist Daniel O'Sullivan grappling with the concept of library music. For a while now, the genre has come to mean a certain type of breaks record - one for the crate diggers to obsess over before sticking on discogs for ridiculous sums. So legendary library imprint KPM Music is working with an assembly of modern composers to breathe some life - and more importantly some variety - into the genre.
Daniel O'Sullivan's first entry does exactly what you'd expect, but does it so damn well it's hard to complain at all. There are dusty, giallo-esque sounds aplenty, but O'Sullivan's distant drones and evocative, exquisite near-orchestral compositions are so inviting we've been going back again and again for more. Tracks like 'Eagle Ears' will have u wondering exactly which Criterion-approved indie masterpiece it was snipped from, while 'Feathered Earth' sounds as if it was swept up from the cutting room floor after Brian Eno's 'On Land' sessions.
Hearing any artist rise to the challenge of working in short-form is a pleasure, and Daniel O'Sullivan appears to relish the limitations of the form. Each vignette is perfectly formed, whether it's plaintive solo piano, bizarre outerzone electronics, pastoral ambience, high-minded prog or spiritual drone. It's an odd mix but utterly enjoyable from beginning to end. Highly recommended.
24 bit audio
Boomkat Product Review:
Æthenor's Daniel O'Sullivan reclaims the library music genre with a deliciously spooky set of soundtrack-esque drones and tones that will stick in yer head far longer than you'd expect. One for Radiophonic Workshop fans and Death Waltz devotees.
The first in a series of three albums of "library music miniatures", "Electric Maya: Dream Flotsam And Astral Hinterlands" finds multi-instrumentalist Daniel O'Sullivan grappling with the concept of library music. For a while now, the genre has come to mean a certain type of breaks record - one for the crate diggers to obsess over before sticking on discogs for ridiculous sums. So legendary library imprint KPM Music is working with an assembly of modern composers to breathe some life - and more importantly some variety - into the genre.
Daniel O'Sullivan's first entry does exactly what you'd expect, but does it so damn well it's hard to complain at all. There are dusty, giallo-esque sounds aplenty, but O'Sullivan's distant drones and evocative, exquisite near-orchestral compositions are so inviting we've been going back again and again for more. Tracks like 'Eagle Ears' will have u wondering exactly which Criterion-approved indie masterpiece it was snipped from, while 'Feathered Earth' sounds as if it was swept up from the cutting room floor after Brian Eno's 'On Land' sessions.
Hearing any artist rise to the challenge of working in short-form is a pleasure, and Daniel O'Sullivan appears to relish the limitations of the form. Each vignette is perfectly formed, whether it's plaintive solo piano, bizarre outerzone electronics, pastoral ambience, high-minded prog or spiritual drone. It's an odd mix but utterly enjoyable from beginning to end. Highly recommended.
24 bit audio
Boomkat Product Review:
Æthenor's Daniel O'Sullivan reclaims the library music genre with a deliciously spooky set of soundtrack-esque drones and tones that will stick in yer head far longer than you'd expect. One for Radiophonic Workshop fans and Death Waltz devotees.
The first in a series of three albums of "library music miniatures", "Electric Maya: Dream Flotsam And Astral Hinterlands" finds multi-instrumentalist Daniel O'Sullivan grappling with the concept of library music. For a while now, the genre has come to mean a certain type of breaks record - one for the crate diggers to obsess over before sticking on discogs for ridiculous sums. So legendary library imprint KPM Music is working with an assembly of modern composers to breathe some life - and more importantly some variety - into the genre.
Daniel O'Sullivan's first entry does exactly what you'd expect, but does it so damn well it's hard to complain at all. There are dusty, giallo-esque sounds aplenty, but O'Sullivan's distant drones and evocative, exquisite near-orchestral compositions are so inviting we've been going back again and again for more. Tracks like 'Eagle Ears' will have u wondering exactly which Criterion-approved indie masterpiece it was snipped from, while 'Feathered Earth' sounds as if it was swept up from the cutting room floor after Brian Eno's 'On Land' sessions.
Hearing any artist rise to the challenge of working in short-form is a pleasure, and Daniel O'Sullivan appears to relish the limitations of the form. Each vignette is perfectly formed, whether it's plaintive solo piano, bizarre outerzone electronics, pastoral ambience, high-minded prog or spiritual drone. It's an odd mix but utterly enjoyable from beginning to end. Highly recommended.
Bound with obi-strip.
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Boomkat Product Review:
Æthenor's Daniel O'Sullivan reclaims the library music genre with a deliciously spooky set of soundtrack-esque drones and tones that will stick in yer head far longer than you'd expect. One for Radiophonic Workshop fans and Death Waltz devotees.
The first in a series of three albums of "library music miniatures", "Electric Maya: Dream Flotsam And Astral Hinterlands" finds multi-instrumentalist Daniel O'Sullivan grappling with the concept of library music. For a while now, the genre has come to mean a certain type of breaks record - one for the crate diggers to obsess over before sticking on discogs for ridiculous sums. So legendary library imprint KPM Music is working with an assembly of modern composers to breathe some life - and more importantly some variety - into the genre.
Daniel O'Sullivan's first entry does exactly what you'd expect, but does it so damn well it's hard to complain at all. There are dusty, giallo-esque sounds aplenty, but O'Sullivan's distant drones and evocative, exquisite near-orchestral compositions are so inviting we've been going back again and again for more. Tracks like 'Eagle Ears' will have u wondering exactly which Criterion-approved indie masterpiece it was snipped from, while 'Feathered Earth' sounds as if it was swept up from the cutting room floor after Brian Eno's 'On Land' sessions.
Hearing any artist rise to the challenge of working in short-form is a pleasure, and Daniel O'Sullivan appears to relish the limitations of the form. Each vignette is perfectly formed, whether it's plaintive solo piano, bizarre outerzone electronics, pastoral ambience, high-minded prog or spiritual drone. It's an odd mix but utterly enjoyable from beginning to end. Highly recommended.
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