Performs Raymond Scott's Soothing Sounds for Baby
Dylan Henner loosely interprets Raymond Scott's iconic 1962 album on this one, recontextualizing the themes and devising a new suite to soothe his own baby.
Few early electronic tomes are as influential or as well-loved as Scott's 'Soothing Sounds for Baby', and that's exactly why Henner knew he had to be careful working with the source material. He wanted to use the idea, mostly, without snatching too much from Scott or his music, so only revisited the original records a couple of times before writing his response. His motivation was simple - Henner wanted an album to play to his own baby, and wondered what shape that might take with the technological and cultural advances that have occurred in the last few decades.
Thankfully, Henner's new version asserts its uniqueness immediately. 'Lullaby' isn't an exact replica of Scott's own track - honestly we wouldn't recognize it if we didn't know - but a playful reimagining. Focus your ears and you'll hear that Henner has isolated the root melody and the basic timbre of the original, but he uses that as a jumping off point, adding angelic pads and extra reverb. 'Music Box' is even more distinct; Scott's piece is robotic and frantic, but in Henner's hands it turns into a pillowy, almost Enya-esque cascade of delirious keys and spiritual pads. And 'The Happy Whistler', the almost 18-minute rhythmic experiment that closed Scott's 'Soothing Sounds For Baby Volume II' is used to drive Henner's outro 'Happy Whistler', a Göttsching-like trancer that converts Scott's eccentric whirrs and clicks into blissful chimes.
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Dylan Henner loosely interprets Raymond Scott's iconic 1962 album on this one, recontextualizing the themes and devising a new suite to soothe his own baby.
Few early electronic tomes are as influential or as well-loved as Scott's 'Soothing Sounds for Baby', and that's exactly why Henner knew he had to be careful working with the source material. He wanted to use the idea, mostly, without snatching too much from Scott or his music, so only revisited the original records a couple of times before writing his response. His motivation was simple - Henner wanted an album to play to his own baby, and wondered what shape that might take with the technological and cultural advances that have occurred in the last few decades.
Thankfully, Henner's new version asserts its uniqueness immediately. 'Lullaby' isn't an exact replica of Scott's own track - honestly we wouldn't recognize it if we didn't know - but a playful reimagining. Focus your ears and you'll hear that Henner has isolated the root melody and the basic timbre of the original, but he uses that as a jumping off point, adding angelic pads and extra reverb. 'Music Box' is even more distinct; Scott's piece is robotic and frantic, but in Henner's hands it turns into a pillowy, almost Enya-esque cascade of delirious keys and spiritual pads. And 'The Happy Whistler', the almost 18-minute rhythmic experiment that closed Scott's 'Soothing Sounds For Baby Volume II' is used to drive Henner's outro 'Happy Whistler', a Göttsching-like trancer that converts Scott's eccentric whirrs and clicks into blissful chimes.
Dylan Henner loosely interprets Raymond Scott's iconic 1962 album on this one, recontextualizing the themes and devising a new suite to soothe his own baby.
Few early electronic tomes are as influential or as well-loved as Scott's 'Soothing Sounds for Baby', and that's exactly why Henner knew he had to be careful working with the source material. He wanted to use the idea, mostly, without snatching too much from Scott or his music, so only revisited the original records a couple of times before writing his response. His motivation was simple - Henner wanted an album to play to his own baby, and wondered what shape that might take with the technological and cultural advances that have occurred in the last few decades.
Thankfully, Henner's new version asserts its uniqueness immediately. 'Lullaby' isn't an exact replica of Scott's own track - honestly we wouldn't recognize it if we didn't know - but a playful reimagining. Focus your ears and you'll hear that Henner has isolated the root melody and the basic timbre of the original, but he uses that as a jumping off point, adding angelic pads and extra reverb. 'Music Box' is even more distinct; Scott's piece is robotic and frantic, but in Henner's hands it turns into a pillowy, almost Enya-esque cascade of delirious keys and spiritual pads. And 'The Happy Whistler', the almost 18-minute rhythmic experiment that closed Scott's 'Soothing Sounds For Baby Volume II' is used to drive Henner's outro 'Happy Whistler', a Göttsching-like trancer that converts Scott's eccentric whirrs and clicks into blissful chimes.
Dylan Henner loosely interprets Raymond Scott's iconic 1962 album on this one, recontextualizing the themes and devising a new suite to soothe his own baby.
Few early electronic tomes are as influential or as well-loved as Scott's 'Soothing Sounds for Baby', and that's exactly why Henner knew he had to be careful working with the source material. He wanted to use the idea, mostly, without snatching too much from Scott or his music, so only revisited the original records a couple of times before writing his response. His motivation was simple - Henner wanted an album to play to his own baby, and wondered what shape that might take with the technological and cultural advances that have occurred in the last few decades.
Thankfully, Henner's new version asserts its uniqueness immediately. 'Lullaby' isn't an exact replica of Scott's own track - honestly we wouldn't recognize it if we didn't know - but a playful reimagining. Focus your ears and you'll hear that Henner has isolated the root melody and the basic timbre of the original, but he uses that as a jumping off point, adding angelic pads and extra reverb. 'Music Box' is even more distinct; Scott's piece is robotic and frantic, but in Henner's hands it turns into a pillowy, almost Enya-esque cascade of delirious keys and spiritual pads. And 'The Happy Whistler', the almost 18-minute rhythmic experiment that closed Scott's 'Soothing Sounds For Baby Volume II' is used to drive Henner's outro 'Happy Whistler', a Göttsching-like trancer that converts Scott's eccentric whirrs and clicks into blissful chimes.
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Dylan Henner loosely interprets Raymond Scott's iconic 1962 album on this one, recontextualizing the themes and devising a new suite to soothe his own baby.
Few early electronic tomes are as influential or as well-loved as Scott's 'Soothing Sounds for Baby', and that's exactly why Henner knew he had to be careful working with the source material. He wanted to use the idea, mostly, without snatching too much from Scott or his music, so only revisited the original records a couple of times before writing his response. His motivation was simple - Henner wanted an album to play to his own baby, and wondered what shape that might take with the technological and cultural advances that have occurred in the last few decades.
Thankfully, Henner's new version asserts its uniqueness immediately. 'Lullaby' isn't an exact replica of Scott's own track - honestly we wouldn't recognize it if we didn't know - but a playful reimagining. Focus your ears and you'll hear that Henner has isolated the root melody and the basic timbre of the original, but he uses that as a jumping off point, adding angelic pads and extra reverb. 'Music Box' is even more distinct; Scott's piece is robotic and frantic, but in Henner's hands it turns into a pillowy, almost Enya-esque cascade of delirious keys and spiritual pads. And 'The Happy Whistler', the almost 18-minute rhythmic experiment that closed Scott's 'Soothing Sounds For Baby Volume II' is used to drive Henner's outro 'Happy Whistler', a Göttsching-like trancer that converts Scott's eccentric whirrs and clicks into blissful chimes.