new age ambient · piano & violin synth
Best heard whole, start to finish, low, in one sitting.
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
The first sketch for “Ethereal Pathways” was almost nothing: the sound of tranquillity when no one is listening, held too long.
The piano & violin synth does the thinking here; I only choose what to keep.
If it slowed you down for forty minutes, it did its job.
Hope it keeps you company.
Ambient work asks you to be patient in a world that isn't. That's a strange way to spend your twenties, thirties, whatever this is.
There's no roar of a crowd in new age ambient; there's a person, somewhere, listening alone at midnight. I try to make it for them.
It's a quiet life. Mostly I'm grateful for it.
How it's actually made: piano & violin synth, close-mic'd, and everything unnecessary removed.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
Owed to Erik Satie, Claude Debussy, Ludovico's quiet school. The rest I took by accident.
“Anticipation” came from a long look at crossroads, and then refused to leave.
I kept the takes that sounded like weather and cut the rest.
It isn't a message — it's company for a particular hour.
The first sketch for “Calm Reflections” was almost nothing: dawn, held too long.
The piano & violin synth found the shape before I did; I stayed out of the way.
I hope it meets you somewhere quiet.
Dawn is the whole subject, really — the piano & violin synth just circles it.
Between the notes I left in as much crossroads as I could.
Made small, on purpose.
An almost systematic inventory of stillness, for sleep and focus.
I write new age ambient on the piano & violin synth. Mostly it's about tranquillity and dawn — ordinary things, made a little more visible.
There are a handful of records — “Anticipation”, “Calm Reflections”, “Ethereal Pathways”, “Harmonic Escape”, “Serenity Voyage” and more — and they belong together.
