matthewdavid
Experimental Bliss
Boomkat Product Review:
LA ambient shaman matthewdavid unfurls in lustrous, iridescent plumes of psychedelic electronica for his fans at Umor-Rex, who between them have introduced the world to Kara-Lis Coverdale, and many more over the past decade, and equally shaped the world of contemporary ambient-pop and new age as it is
On his first new solo album since 2014’s ‘In My World’ for Brainfeeder, matthewdavid takes an extended moment away from his prolific label, Leaving Records, to commit his fuzziest, flyaway thoughts in a layered collage sequence of ephemeral events he sums up as ‘Experimental Bliss’. As one of the key catalysts behind electronic music’s prevailing phase shift toward a neo-new age sound since the ‘00s, matthewdavid’s feel for this sound is incredibly natural and is here rendered at its most sensitive yet lushly untamed and carefree.
He spends the first half coaxing balletic arps and raga-esque drones into polychromatic swelter and shooting star cascades of ‘Lo-fi Bliss Music’, which can be taken as the epitome of his wide-eyed style, before ‘Dynamic Rhythmicals’ gives a strong nod to Balinese gamelan as much as African rhythmelodic structures, lilting into a 4th world sound sphere that echoes Hassell and Eno’s classics as much as the more warped, detached visions of Spencer Clark or Dolphins Into The Future.
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Boomkat Product Review:
LA ambient shaman matthewdavid unfurls in lustrous, iridescent plumes of psychedelic electronica for his fans at Umor-Rex, who between them have introduced the world to Kara-Lis Coverdale, and many more over the past decade, and equally shaped the world of contemporary ambient-pop and new age as it is
On his first new solo album since 2014’s ‘In My World’ for Brainfeeder, matthewdavid takes an extended moment away from his prolific label, Leaving Records, to commit his fuzziest, flyaway thoughts in a layered collage sequence of ephemeral events he sums up as ‘Experimental Bliss’. As one of the key catalysts behind electronic music’s prevailing phase shift toward a neo-new age sound since the ‘00s, matthewdavid’s feel for this sound is incredibly natural and is here rendered at its most sensitive yet lushly untamed and carefree.
He spends the first half coaxing balletic arps and raga-esque drones into polychromatic swelter and shooting star cascades of ‘Lo-fi Bliss Music’, which can be taken as the epitome of his wide-eyed style, before ‘Dynamic Rhythmicals’ gives a strong nod to Balinese gamelan as much as African rhythmelodic structures, lilting into a 4th world sound sphere that echoes Hassell and Eno’s classics as much as the more warped, detached visions of Spencer Clark or Dolphins Into The Future.
Boomkat Product Review:
LA ambient shaman matthewdavid unfurls in lustrous, iridescent plumes of psychedelic electronica for his fans at Umor-Rex, who between them have introduced the world to Kara-Lis Coverdale, and many more over the past decade, and equally shaped the world of contemporary ambient-pop and new age as it is
On his first new solo album since 2014’s ‘In My World’ for Brainfeeder, matthewdavid takes an extended moment away from his prolific label, Leaving Records, to commit his fuzziest, flyaway thoughts in a layered collage sequence of ephemeral events he sums up as ‘Experimental Bliss’. As one of the key catalysts behind electronic music’s prevailing phase shift toward a neo-new age sound since the ‘00s, matthewdavid’s feel for this sound is incredibly natural and is here rendered at its most sensitive yet lushly untamed and carefree.
He spends the first half coaxing balletic arps and raga-esque drones into polychromatic swelter and shooting star cascades of ‘Lo-fi Bliss Music’, which can be taken as the epitome of his wide-eyed style, before ‘Dynamic Rhythmicals’ gives a strong nod to Balinese gamelan as much as African rhythmelodic structures, lilting into a 4th world sound sphere that echoes Hassell and Eno’s classics as much as the more warped, detached visions of Spencer Clark or Dolphins Into The Future.
Boomkat Product Review:
LA ambient shaman matthewdavid unfurls in lustrous, iridescent plumes of psychedelic electronica for his fans at Umor-Rex, who between them have introduced the world to Kara-Lis Coverdale, and many more over the past decade, and equally shaped the world of contemporary ambient-pop and new age as it is
On his first new solo album since 2014’s ‘In My World’ for Brainfeeder, matthewdavid takes an extended moment away from his prolific label, Leaving Records, to commit his fuzziest, flyaway thoughts in a layered collage sequence of ephemeral events he sums up as ‘Experimental Bliss’. As one of the key catalysts behind electronic music’s prevailing phase shift toward a neo-new age sound since the ‘00s, matthewdavid’s feel for this sound is incredibly natural and is here rendered at its most sensitive yet lushly untamed and carefree.
He spends the first half coaxing balletic arps and raga-esque drones into polychromatic swelter and shooting star cascades of ‘Lo-fi Bliss Music’, which can be taken as the epitome of his wide-eyed style, before ‘Dynamic Rhythmicals’ gives a strong nod to Balinese gamelan as much as African rhythmelodic structures, lilting into a 4th world sound sphere that echoes Hassell and Eno’s classics as much as the more warped, detached visions of Spencer Clark or Dolphins Into The Future.
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Boomkat Product Review:
LA ambient shaman matthewdavid unfurls in lustrous, iridescent plumes of psychedelic electronica for his fans at Umor-Rex, who between them have introduced the world to Kara-Lis Coverdale, and many more over the past decade, and equally shaped the world of contemporary ambient-pop and new age as it is
On his first new solo album since 2014’s ‘In My World’ for Brainfeeder, matthewdavid takes an extended moment away from his prolific label, Leaving Records, to commit his fuzziest, flyaway thoughts in a layered collage sequence of ephemeral events he sums up as ‘Experimental Bliss’. As one of the key catalysts behind electronic music’s prevailing phase shift toward a neo-new age sound since the ‘00s, matthewdavid’s feel for this sound is incredibly natural and is here rendered at its most sensitive yet lushly untamed and carefree.
He spends the first half coaxing balletic arps and raga-esque drones into polychromatic swelter and shooting star cascades of ‘Lo-fi Bliss Music’, which can be taken as the epitome of his wide-eyed style, before ‘Dynamic Rhythmicals’ gives a strong nod to Balinese gamelan as much as African rhythmelodic structures, lilting into a 4th world sound sphere that echoes Hassell and Eno’s classics as much as the more warped, detached visions of Spencer Clark or Dolphins Into The Future.
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