The Pastoral Machine
Ulver and Æthenor's Daniel O'Sullivan with his most electronic set thus far, a loose suite of cosmic ambience and new age-tinged electronics that's augmented with a Jefre Cantu-Ledesma remix.
O'Sullivan wears his influences on his sleeve on this one, giving the nod to Enya on the vocal-led 'Star Lore', Florian Fricke and Manuel Gottsching on the trippy, guitar-laced 'Superstrings' and Brian Eno on the gossamer 'The Silversmith of Space'. But it's library music he's making here, it's a chance for the multi-instrumentalist and producer to crack his knuckles and show off his versatility. This fourth volume was intended to be simpler than its richly orchestrated predecessors, focusing on gentle and immersive soundworlds, and that concept is immediately apparent on the cheerful opener 'Empathogen', a light-hearted mesh of synth arpeggios and electric piano stabs that sounds like Air covering Terry Riley.
Similarly, on 'Rose's Lament', O'Sullivan takes delicate prepared keys and builds them out with airy pads, sounding like vintage Sakamoto, and he shimmers into the stars on 'Nodal Crossing', melting BoC monosynth wails into a bed of echoing ambience. Keel Her's Rose Keeler-Schäffeler shows up on the poppy 'The Oscillating Love', which gets a remix courtesy of Jefre Cantu-Ledesma, who chops and screws it into a jet engine vapor(wave) trail.
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Ulver and Æthenor's Daniel O'Sullivan with his most electronic set thus far, a loose suite of cosmic ambience and new age-tinged electronics that's augmented with a Jefre Cantu-Ledesma remix.
O'Sullivan wears his influences on his sleeve on this one, giving the nod to Enya on the vocal-led 'Star Lore', Florian Fricke and Manuel Gottsching on the trippy, guitar-laced 'Superstrings' and Brian Eno on the gossamer 'The Silversmith of Space'. But it's library music he's making here, it's a chance for the multi-instrumentalist and producer to crack his knuckles and show off his versatility. This fourth volume was intended to be simpler than its richly orchestrated predecessors, focusing on gentle and immersive soundworlds, and that concept is immediately apparent on the cheerful opener 'Empathogen', a light-hearted mesh of synth arpeggios and electric piano stabs that sounds like Air covering Terry Riley.
Similarly, on 'Rose's Lament', O'Sullivan takes delicate prepared keys and builds them out with airy pads, sounding like vintage Sakamoto, and he shimmers into the stars on 'Nodal Crossing', melting BoC monosynth wails into a bed of echoing ambience. Keel Her's Rose Keeler-Schäffeler shows up on the poppy 'The Oscillating Love', which gets a remix courtesy of Jefre Cantu-Ledesma, who chops and screws it into a jet engine vapor(wave) trail.
Ulver and Æthenor's Daniel O'Sullivan with his most electronic set thus far, a loose suite of cosmic ambience and new age-tinged electronics that's augmented with a Jefre Cantu-Ledesma remix.
O'Sullivan wears his influences on his sleeve on this one, giving the nod to Enya on the vocal-led 'Star Lore', Florian Fricke and Manuel Gottsching on the trippy, guitar-laced 'Superstrings' and Brian Eno on the gossamer 'The Silversmith of Space'. But it's library music he's making here, it's a chance for the multi-instrumentalist and producer to crack his knuckles and show off his versatility. This fourth volume was intended to be simpler than its richly orchestrated predecessors, focusing on gentle and immersive soundworlds, and that concept is immediately apparent on the cheerful opener 'Empathogen', a light-hearted mesh of synth arpeggios and electric piano stabs that sounds like Air covering Terry Riley.
Similarly, on 'Rose's Lament', O'Sullivan takes delicate prepared keys and builds them out with airy pads, sounding like vintage Sakamoto, and he shimmers into the stars on 'Nodal Crossing', melting BoC monosynth wails into a bed of echoing ambience. Keel Her's Rose Keeler-Schäffeler shows up on the poppy 'The Oscillating Love', which gets a remix courtesy of Jefre Cantu-Ledesma, who chops and screws it into a jet engine vapor(wave) trail.
Ulver and Æthenor's Daniel O'Sullivan with his most electronic set thus far, a loose suite of cosmic ambience and new age-tinged electronics that's augmented with a Jefre Cantu-Ledesma remix.
O'Sullivan wears his influences on his sleeve on this one, giving the nod to Enya on the vocal-led 'Star Lore', Florian Fricke and Manuel Gottsching on the trippy, guitar-laced 'Superstrings' and Brian Eno on the gossamer 'The Silversmith of Space'. But it's library music he's making here, it's a chance for the multi-instrumentalist and producer to crack his knuckles and show off his versatility. This fourth volume was intended to be simpler than its richly orchestrated predecessors, focusing on gentle and immersive soundworlds, and that concept is immediately apparent on the cheerful opener 'Empathogen', a light-hearted mesh of synth arpeggios and electric piano stabs that sounds like Air covering Terry Riley.
Similarly, on 'Rose's Lament', O'Sullivan takes delicate prepared keys and builds them out with airy pads, sounding like vintage Sakamoto, and he shimmers into the stars on 'Nodal Crossing', melting BoC monosynth wails into a bed of echoing ambience. Keel Her's Rose Keeler-Schäffeler shows up on the poppy 'The Oscillating Love', which gets a remix courtesy of Jefre Cantu-Ledesma, who chops and screws it into a jet engine vapor(wave) trail.
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Ulver and Æthenor's Daniel O'Sullivan with his most electronic set thus far, a loose suite of cosmic ambience and new age-tinged electronics that's augmented with a Jefre Cantu-Ledesma remix.
O'Sullivan wears his influences on his sleeve on this one, giving the nod to Enya on the vocal-led 'Star Lore', Florian Fricke and Manuel Gottsching on the trippy, guitar-laced 'Superstrings' and Brian Eno on the gossamer 'The Silversmith of Space'. But it's library music he's making here, it's a chance for the multi-instrumentalist and producer to crack his knuckles and show off his versatility. This fourth volume was intended to be simpler than its richly orchestrated predecessors, focusing on gentle and immersive soundworlds, and that concept is immediately apparent on the cheerful opener 'Empathogen', a light-hearted mesh of synth arpeggios and electric piano stabs that sounds like Air covering Terry Riley.
Similarly, on 'Rose's Lament', O'Sullivan takes delicate prepared keys and builds them out with airy pads, sounding like vintage Sakamoto, and he shimmers into the stars on 'Nodal Crossing', melting BoC monosynth wails into a bed of echoing ambience. Keel Her's Rose Keeler-Schäffeler shows up on the poppy 'The Oscillating Love', which gets a remix courtesy of Jefre Cantu-Ledesma, who chops and screws it into a jet engine vapor(wave) trail.