Disorienting, faded electronics from Chinese-born multidisciplinary artist Amosphère. Using entirely analog equipment, she evokes the minimalism of Alvin Curran and Eliane Radigue and the psychedelic atmospheres of Kassel Jaeger or Eleh.
It's refreshing to hear beatless electronic music that's got the confidence to exist in its own sonic spectrum. At its best, Amosphère's music is unsettlingly blunt and resides completely in the low mid-range area, filling the speaker but avoiding engineering truths. The technique makes her music sound completely at odds with the contemporary school of Ambient production, revelling in her synths' uneven pitch.
It makes perfect sense that one of her key influences is Andrei Tarkovsky's "Solaris", and the throbbing drones and dissonant tonal outcroppings of '0229 p.m.' sound perfectly in line with the director's singular vision. Elsewhere, 'celestial' melts pitch-black organ wobbles with bassoon and saxophone drones, sounding foreboding and alien, but delightfully cinematic. It's not all doom and gloom either, on 'anti-insomnia' Amosphère's airy synthesizer sequences have more in common with Delia Derbyshire's BBC Radiophonic Workshop compositions or Raymond Scott's soothing sounds.
Recommended.
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Disorienting, faded electronics from Chinese-born multidisciplinary artist Amosphère. Using entirely analog equipment, she evokes the minimalism of Alvin Curran and Eliane Radigue and the psychedelic atmospheres of Kassel Jaeger or Eleh.
It's refreshing to hear beatless electronic music that's got the confidence to exist in its own sonic spectrum. At its best, Amosphère's music is unsettlingly blunt and resides completely in the low mid-range area, filling the speaker but avoiding engineering truths. The technique makes her music sound completely at odds with the contemporary school of Ambient production, revelling in her synths' uneven pitch.
It makes perfect sense that one of her key influences is Andrei Tarkovsky's "Solaris", and the throbbing drones and dissonant tonal outcroppings of '0229 p.m.' sound perfectly in line with the director's singular vision. Elsewhere, 'celestial' melts pitch-black organ wobbles with bassoon and saxophone drones, sounding foreboding and alien, but delightfully cinematic. It's not all doom and gloom either, on 'anti-insomnia' Amosphère's airy synthesizer sequences have more in common with Delia Derbyshire's BBC Radiophonic Workshop compositions or Raymond Scott's soothing sounds.
Recommended.
Disorienting, faded electronics from Chinese-born multidisciplinary artist Amosphère. Using entirely analog equipment, she evokes the minimalism of Alvin Curran and Eliane Radigue and the psychedelic atmospheres of Kassel Jaeger or Eleh.
It's refreshing to hear beatless electronic music that's got the confidence to exist in its own sonic spectrum. At its best, Amosphère's music is unsettlingly blunt and resides completely in the low mid-range area, filling the speaker but avoiding engineering truths. The technique makes her music sound completely at odds with the contemporary school of Ambient production, revelling in her synths' uneven pitch.
It makes perfect sense that one of her key influences is Andrei Tarkovsky's "Solaris", and the throbbing drones and dissonant tonal outcroppings of '0229 p.m.' sound perfectly in line with the director's singular vision. Elsewhere, 'celestial' melts pitch-black organ wobbles with bassoon and saxophone drones, sounding foreboding and alien, but delightfully cinematic. It's not all doom and gloom either, on 'anti-insomnia' Amosphère's airy synthesizer sequences have more in common with Delia Derbyshire's BBC Radiophonic Workshop compositions or Raymond Scott's soothing sounds.
Recommended.
Disorienting, faded electronics from Chinese-born multidisciplinary artist Amosphère. Using entirely analog equipment, she evokes the minimalism of Alvin Curran and Eliane Radigue and the psychedelic atmospheres of Kassel Jaeger or Eleh.
It's refreshing to hear beatless electronic music that's got the confidence to exist in its own sonic spectrum. At its best, Amosphère's music is unsettlingly blunt and resides completely in the low mid-range area, filling the speaker but avoiding engineering truths. The technique makes her music sound completely at odds with the contemporary school of Ambient production, revelling in her synths' uneven pitch.
It makes perfect sense that one of her key influences is Andrei Tarkovsky's "Solaris", and the throbbing drones and dissonant tonal outcroppings of '0229 p.m.' sound perfectly in line with the director's singular vision. Elsewhere, 'celestial' melts pitch-black organ wobbles with bassoon and saxophone drones, sounding foreboding and alien, but delightfully cinematic. It's not all doom and gloom either, on 'anti-insomnia' Amosphère's airy synthesizer sequences have more in common with Delia Derbyshire's BBC Radiophonic Workshop compositions or Raymond Scott's soothing sounds.
Recommended.
Clear vinyl.
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Disorienting, faded electronics from Chinese-born multidisciplinary artist Amosphère. Using entirely analog equipment, she evokes the minimalism of Alvin Curran and Eliane Radigue and the psychedelic atmospheres of Kassel Jaeger or Eleh.
It's refreshing to hear beatless electronic music that's got the confidence to exist in its own sonic spectrum. At its best, Amosphère's music is unsettlingly blunt and resides completely in the low mid-range area, filling the speaker but avoiding engineering truths. The technique makes her music sound completely at odds with the contemporary school of Ambient production, revelling in her synths' uneven pitch.
It makes perfect sense that one of her key influences is Andrei Tarkovsky's "Solaris", and the throbbing drones and dissonant tonal outcroppings of '0229 p.m.' sound perfectly in line with the director's singular vision. Elsewhere, 'celestial' melts pitch-black organ wobbles with bassoon and saxophone drones, sounding foreboding and alien, but delightfully cinematic. It's not all doom and gloom either, on 'anti-insomnia' Amosphère's airy synthesizer sequences have more in common with Delia Derbyshire's BBC Radiophonic Workshop compositions or Raymond Scott's soothing sounds.
Recommended.