Cologne's Danny Scott Lane tries his hand at exotica on "Home Decor", losing lightly simmered lounge jazz in downtempo ambient vistas.
Lane's sixth album, "Home Decor" is described as 'nostalgia-tinted modern chill out music', but don't worry - it's nothing as terrifying as that might sound. A jazz old-hand, Lane's able to effortlessly folk Matt Elliot Gooden's assertive saxophone sounds into a mallsoft-style echo of 1980s electronics and ambient exotica. The resulting fuzz might sound like smooth jazz, but it's sculpted into something more chillier than chill - listen carefully and it sounds like offbeat memories of a physical consumer malltopia that's no longer relevant in the digital age.
Even the cover itself, a weird 3D render from VR designer Lucas Barbuzzi, feels as if it hits this awkward tone; at a glance it looks like the 1970s, but look a little closer and it's not nostalgia at all, it's a virtual world we've never actually experienced in reality. Similarly, Lane's jazzy electronic funk doesn't sound so much like the era he's attempting to mimic, rather like something someone in the here and now might project onto the past. And that's interesting.
View more
Cologne's Danny Scott Lane tries his hand at exotica on "Home Decor", losing lightly simmered lounge jazz in downtempo ambient vistas.
Lane's sixth album, "Home Decor" is described as 'nostalgia-tinted modern chill out music', but don't worry - it's nothing as terrifying as that might sound. A jazz old-hand, Lane's able to effortlessly folk Matt Elliot Gooden's assertive saxophone sounds into a mallsoft-style echo of 1980s electronics and ambient exotica. The resulting fuzz might sound like smooth jazz, but it's sculpted into something more chillier than chill - listen carefully and it sounds like offbeat memories of a physical consumer malltopia that's no longer relevant in the digital age.
Even the cover itself, a weird 3D render from VR designer Lucas Barbuzzi, feels as if it hits this awkward tone; at a glance it looks like the 1970s, but look a little closer and it's not nostalgia at all, it's a virtual world we've never actually experienced in reality. Similarly, Lane's jazzy electronic funk doesn't sound so much like the era he's attempting to mimic, rather like something someone in the here and now might project onto the past. And that's interesting.
Cologne's Danny Scott Lane tries his hand at exotica on "Home Decor", losing lightly simmered lounge jazz in downtempo ambient vistas.
Lane's sixth album, "Home Decor" is described as 'nostalgia-tinted modern chill out music', but don't worry - it's nothing as terrifying as that might sound. A jazz old-hand, Lane's able to effortlessly folk Matt Elliot Gooden's assertive saxophone sounds into a mallsoft-style echo of 1980s electronics and ambient exotica. The resulting fuzz might sound like smooth jazz, but it's sculpted into something more chillier than chill - listen carefully and it sounds like offbeat memories of a physical consumer malltopia that's no longer relevant in the digital age.
Even the cover itself, a weird 3D render from VR designer Lucas Barbuzzi, feels as if it hits this awkward tone; at a glance it looks like the 1970s, but look a little closer and it's not nostalgia at all, it's a virtual world we've never actually experienced in reality. Similarly, Lane's jazzy electronic funk doesn't sound so much like the era he's attempting to mimic, rather like something someone in the here and now might project onto the past. And that's interesting.
Cologne's Danny Scott Lane tries his hand at exotica on "Home Decor", losing lightly simmered lounge jazz in downtempo ambient vistas.
Lane's sixth album, "Home Decor" is described as 'nostalgia-tinted modern chill out music', but don't worry - it's nothing as terrifying as that might sound. A jazz old-hand, Lane's able to effortlessly folk Matt Elliot Gooden's assertive saxophone sounds into a mallsoft-style echo of 1980s electronics and ambient exotica. The resulting fuzz might sound like smooth jazz, but it's sculpted into something more chillier than chill - listen carefully and it sounds like offbeat memories of a physical consumer malltopia that's no longer relevant in the digital age.
Even the cover itself, a weird 3D render from VR designer Lucas Barbuzzi, feels as if it hits this awkward tone; at a glance it looks like the 1970s, but look a little closer and it's not nostalgia at all, it's a virtual world we've never actually experienced in reality. Similarly, Lane's jazzy electronic funk doesn't sound so much like the era he's attempting to mimic, rather like something someone in the here and now might project onto the past. And that's interesting.