Throb, shiver, arrow of time
Preeminent scorer and maverick cellist Oliver Coates, member of the London Contemporary Orchestra and occasional spar for everyone from Mica Levi to MF DOOM, carries over his commissions for moving image into the fever dream-like instrumental narrative arc of his 3rd album for RVNG Intl., a glorious display of his emotional register, saturated with absorbing harmonic-textural colour and dissonance and featuring a standout vocal cameo from Malibu.
In the wake of celebrated soundtracks to the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023), Coates is left to his own devices and cues in ‘Throb, shiver, arrow of time’, an album that nevertheless betrays his now main line of music intended to convey the feelings of others. The work finds those circles bleed in a series of heart-in-mouth raptures, discord, ambient rumination, and pearlescent choral pieces that vividly make us privy to his rich inner landscape.
It marks a subtle but pointed advance on the palette he developed and deployed in 2020’s ’Skins N Slime’, balancing mulch with crisply defined timbres and in a singularly ringing sound sculpted around notions of the infidelity of memory and displaced temporality, or in other words, the strangeness of dreams and what lurks in the imagination, dare you reach into it. The album’s sketches began in 2020, against the backdrop of lockdown and two events in particular that came to shape its core piece, ’Shopping Centre’, from which the rest grew.
News articles on the demolition of a London shopping centre relic at Elephant & Castle, and discussion of curfew as real possibility for all men following a violent crime, are fused into stately, elegiac cello strokes that spiral up and off the page via electronic processing, establishing a keening thrust that would come to inform the rest of the album recordings. Between the swooning gloom of ‘Ultra valid’, the ravishing dissonance of ‘Radiocello’, his passage of windswept avant-folk poetry of ‘Apparition’ starring Malibu, and the incandescent haunting of closer ‘Make it happen’, Coates’ rare, timeless sense of romance and anguish burns thru to scorch his abstract sound imagery on the mind’s eye with steeply memorable effect bound to reward return plays with fans of everyone from Hildur Guðnadóttir to Tom James Scott and Mica Levi.
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Preeminent scorer and maverick cellist Oliver Coates, member of the London Contemporary Orchestra and occasional spar for everyone from Mica Levi to MF DOOM, carries over his commissions for moving image into the fever dream-like instrumental narrative arc of his 3rd album for RVNG Intl., a glorious display of his emotional register, saturated with absorbing harmonic-textural colour and dissonance and featuring a standout vocal cameo from Malibu.
In the wake of celebrated soundtracks to the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023), Coates is left to his own devices and cues in ‘Throb, shiver, arrow of time’, an album that nevertheless betrays his now main line of music intended to convey the feelings of others. The work finds those circles bleed in a series of heart-in-mouth raptures, discord, ambient rumination, and pearlescent choral pieces that vividly make us privy to his rich inner landscape.
It marks a subtle but pointed advance on the palette he developed and deployed in 2020’s ’Skins N Slime’, balancing mulch with crisply defined timbres and in a singularly ringing sound sculpted around notions of the infidelity of memory and displaced temporality, or in other words, the strangeness of dreams and what lurks in the imagination, dare you reach into it. The album’s sketches began in 2020, against the backdrop of lockdown and two events in particular that came to shape its core piece, ’Shopping Centre’, from which the rest grew.
News articles on the demolition of a London shopping centre relic at Elephant & Castle, and discussion of curfew as real possibility for all men following a violent crime, are fused into stately, elegiac cello strokes that spiral up and off the page via electronic processing, establishing a keening thrust that would come to inform the rest of the album recordings. Between the swooning gloom of ‘Ultra valid’, the ravishing dissonance of ‘Radiocello’, his passage of windswept avant-folk poetry of ‘Apparition’ starring Malibu, and the incandescent haunting of closer ‘Make it happen’, Coates’ rare, timeless sense of romance and anguish burns thru to scorch his abstract sound imagery on the mind’s eye with steeply memorable effect bound to reward return plays with fans of everyone from Hildur Guðnadóttir to Tom James Scott and Mica Levi.
Preeminent scorer and maverick cellist Oliver Coates, member of the London Contemporary Orchestra and occasional spar for everyone from Mica Levi to MF DOOM, carries over his commissions for moving image into the fever dream-like instrumental narrative arc of his 3rd album for RVNG Intl., a glorious display of his emotional register, saturated with absorbing harmonic-textural colour and dissonance and featuring a standout vocal cameo from Malibu.
In the wake of celebrated soundtracks to the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023), Coates is left to his own devices and cues in ‘Throb, shiver, arrow of time’, an album that nevertheless betrays his now main line of music intended to convey the feelings of others. The work finds those circles bleed in a series of heart-in-mouth raptures, discord, ambient rumination, and pearlescent choral pieces that vividly make us privy to his rich inner landscape.
It marks a subtle but pointed advance on the palette he developed and deployed in 2020’s ’Skins N Slime’, balancing mulch with crisply defined timbres and in a singularly ringing sound sculpted around notions of the infidelity of memory and displaced temporality, or in other words, the strangeness of dreams and what lurks in the imagination, dare you reach into it. The album’s sketches began in 2020, against the backdrop of lockdown and two events in particular that came to shape its core piece, ’Shopping Centre’, from which the rest grew.
News articles on the demolition of a London shopping centre relic at Elephant & Castle, and discussion of curfew as real possibility for all men following a violent crime, are fused into stately, elegiac cello strokes that spiral up and off the page via electronic processing, establishing a keening thrust that would come to inform the rest of the album recordings. Between the swooning gloom of ‘Ultra valid’, the ravishing dissonance of ‘Radiocello’, his passage of windswept avant-folk poetry of ‘Apparition’ starring Malibu, and the incandescent haunting of closer ‘Make it happen’, Coates’ rare, timeless sense of romance and anguish burns thru to scorch his abstract sound imagery on the mind’s eye with steeply memorable effect bound to reward return plays with fans of everyone from Hildur Guðnadóttir to Tom James Scott and Mica Levi.
Preeminent scorer and maverick cellist Oliver Coates, member of the London Contemporary Orchestra and occasional spar for everyone from Mica Levi to MF DOOM, carries over his commissions for moving image into the fever dream-like instrumental narrative arc of his 3rd album for RVNG Intl., a glorious display of his emotional register, saturated with absorbing harmonic-textural colour and dissonance and featuring a standout vocal cameo from Malibu.
In the wake of celebrated soundtracks to the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023), Coates is left to his own devices and cues in ‘Throb, shiver, arrow of time’, an album that nevertheless betrays his now main line of music intended to convey the feelings of others. The work finds those circles bleed in a series of heart-in-mouth raptures, discord, ambient rumination, and pearlescent choral pieces that vividly make us privy to his rich inner landscape.
It marks a subtle but pointed advance on the palette he developed and deployed in 2020’s ’Skins N Slime’, balancing mulch with crisply defined timbres and in a singularly ringing sound sculpted around notions of the infidelity of memory and displaced temporality, or in other words, the strangeness of dreams and what lurks in the imagination, dare you reach into it. The album’s sketches began in 2020, against the backdrop of lockdown and two events in particular that came to shape its core piece, ’Shopping Centre’, from which the rest grew.
News articles on the demolition of a London shopping centre relic at Elephant & Castle, and discussion of curfew as real possibility for all men following a violent crime, are fused into stately, elegiac cello strokes that spiral up and off the page via electronic processing, establishing a keening thrust that would come to inform the rest of the album recordings. Between the swooning gloom of ‘Ultra valid’, the ravishing dissonance of ‘Radiocello’, his passage of windswept avant-folk poetry of ‘Apparition’ starring Malibu, and the incandescent haunting of closer ‘Make it happen’, Coates’ rare, timeless sense of romance and anguish burns thru to scorch his abstract sound imagery on the mind’s eye with steeply memorable effect bound to reward return plays with fans of everyone from Hildur Guðnadóttir to Tom James Scott and Mica Levi.
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Preeminent scorer and maverick cellist Oliver Coates, member of the London Contemporary Orchestra and occasional spar for everyone from Mica Levi to MF DOOM, carries over his commissions for moving image into the fever dream-like instrumental narrative arc of his 3rd album for RVNG Intl., a glorious display of his emotional register, saturated with absorbing harmonic-textural colour and dissonance and featuring a standout vocal cameo from Malibu.
In the wake of celebrated soundtracks to the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023), Coates is left to his own devices and cues in ‘Throb, shiver, arrow of time’, an album that nevertheless betrays his now main line of music intended to convey the feelings of others. The work finds those circles bleed in a series of heart-in-mouth raptures, discord, ambient rumination, and pearlescent choral pieces that vividly make us privy to his rich inner landscape.
It marks a subtle but pointed advance on the palette he developed and deployed in 2020’s ’Skins N Slime’, balancing mulch with crisply defined timbres and in a singularly ringing sound sculpted around notions of the infidelity of memory and displaced temporality, or in other words, the strangeness of dreams and what lurks in the imagination, dare you reach into it. The album’s sketches began in 2020, against the backdrop of lockdown and two events in particular that came to shape its core piece, ’Shopping Centre’, from which the rest grew.
News articles on the demolition of a London shopping centre relic at Elephant & Castle, and discussion of curfew as real possibility for all men following a violent crime, are fused into stately, elegiac cello strokes that spiral up and off the page via electronic processing, establishing a keening thrust that would come to inform the rest of the album recordings. Between the swooning gloom of ‘Ultra valid’, the ravishing dissonance of ‘Radiocello’, his passage of windswept avant-folk poetry of ‘Apparition’ starring Malibu, and the incandescent haunting of closer ‘Make it happen’, Coates’ rare, timeless sense of romance and anguish burns thru to scorch his abstract sound imagery on the mind’s eye with steeply memorable effect bound to reward return plays with fans of everyone from Hildur Guðnadóttir to Tom James Scott and Mica Levi.