by William Hancock.



Pan Electric – Step Out.

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He’s back! Matt Coldrick (Pan Electric, Green Nuns of the Revolution) has returned after a hiatus on the tail of Music For A Busy Head and his recent world music project, Quiet Earth. 

Liquid Sound Design presents Pan Electrics latest album Step Out.

Another downtempo masterpiece. Tight production, solid composition and inspiring creativity.

Features of note:

-the discordant, chaotic introduction before we drop into the sweeping plains of guitar and electronic beds.

-The honky tonk break at the end of Half World. Superb.

-Some inspiring and positive vocal samples in Rhythmn is a Sense.

-Deep dubby travel power in Rising Slowly, a phrase we’ve heard before! The power of this track builds nicely.

-Cant help feeling like Sweet As Rain reminds me of something.

-And a faster if not slightly chaotic danceable number with Shadow Hunters, a track that was remixed here to celebrate Pan Electrics first release 20 years ago on James Monro’s label Flying Rhino.

Stoked to hear more from this talented fellow through an album that delivers and was worth the wait. And a nice smattering of guitars to cap it off.

Release date 7th of December 2018 on Liquid Sound Design. 

Check out the promo video here:

Triskele Management. 

Another Fine Day – A Good Place To Be.


“Another Cult-Classic From Solo Downtempo Producer Finds It’s Place”.

21 years after Another Fine Days’ Tom Green released the ambient-dub, cult-classic Life Before Land, he returns with a fresh basting of ambient-jazz styling in their latest release A Good Place To Be, out now on Interchill.

Fusing natural soundscapes with jazz, percussion and a smattering of instrumental electronica, the ambient and downtempo styles embraced in A Good Place To Be provide the listener with a captivating journey into the realms of natural music and sound. Birds and insects blend with jazz infused keyboards, ambient percussive punctuations, atmospheric synth pads and halting time signatures. Covering a spectrum of musical styles and genres this album doesn’t fit into any narrow slots, with synthetic and natural sounds and music creating a collage of sonic artwork across the board.

Greens’ colourful and varied past is apparent in the composition of this album. Rising from a post-punk outfit in the late seventies, blending with outfits including Baka Beyond, The Orb and Natacha Atlas and writing screen music for the likes of the BBC through his music production company Apollo Music, he contributes regularly to quality music libraries for Universal Music, EMI Production Music and Accorder Music. Tom also dabbles in various unique side projects including an ambient commission released in 2012 called Music For Tai Chi and a composition designed for installation in a new MRI scanner complex at the Royal Infirmary in Bristol, UK; Music For MRI Scanners.

Track 2 on the album A Good Place To Be, called And Dream of Seals blends affected bird calls with melodic keyboards and mallet percussion to create atmospherics that sit delicately over a bed of subtle beats, set back in the mix. Rising to an excited cacophony of oscillators supplying the playful seals in a wash of percussive waters, this downtempo creation is topped by an icing of electronic synthesis.

Enfolded is an ambient piece, wrapping the listener in temperate washes of electronic waves created using progressively arranged atmospheric synth pads, punctuated quietly yet powerfully with almost a hint of angelic brass in the wind.

From Tiny Acorns embraces Eastern-influenced strings and mallets in a percussive melody lifted by a bed of progressive, oscillator-effected beats. Atmospheric pads complete the palette as the track rises to the rhythmically melodic crescendo of a string-infused summit, all while the beats track nicely through the piece.

The influence of World Music on A Good Place To Be should not be overlooked. Subtle yet distinct, the instrument selection and devices used in the composition reflect a global connection transcending cultural boundaries and merging into a cohesively international blend of sound. Greens background producing with the likes of Abdul Tee Jay and his side project Newanderthal clearly influence this albums creation and its Remixes.

Even at these early stages of release, Another Fine Days’ new album A Good Place To Be obviously has the heavyweight staying power to become another cult classic in the lighter and more delicate styles of the ambient and downtempo music genres.

by William S. Hancock.

Freedom Deluxe – Amanaska.

“Downtempo Does Dance in a Blend of Tracks from Ambient to the Bridge”.

Tribe 2 is an Australian based duo from Melbourne, Australia. In July 2013 Simon Lewis (Amanaska) and Jono Callow (Rivertribe) released Freedom Deluxe. With an eclectic blend of world music and electronica the album merges instruments from around the globe.

While probably classified as a downtempo world music album the variety of track speed’s (bpm) range widely. Most of the counts sit above 120 and the double-time sections in several songs give us a dance edge, contrasting the resting count. The albums track selection is balanced by ambient tracks and atmospheric sections.

On Wayfaring Stranger tabla and sitar from India blend with the didgeridoo from Australia throughout one of the slower beat counts on the album (80 bpm). The lilt in the rhythm creates a relaxing line, juxtaposed by the double-time tabla sections allowing a bit of a boogie if required. Solid arrangement and production in the percussion beds makes up for a crisp, full and rich journey. Some of the fast chanting on this track seems to be derived from the unique way in which tabla masters in India pass knowledge onto their students. The rhythms are passed vocally using different syllables to inflect the different strikes on this very complex hand drum-set. These ‘lessons’ have been adapted into the vocal tracks of this song.

Apparently the two musicians came together after logging several sustained years of touring independently overseas, recording with laptops in some far away places including India, Singapore, UK and USA. Upon the decision to collaborate they unfurled a plethora of recordings collected during their travels and sampled them to create songs we hear on the album today.

The haunting Cherokee Morning Song with a male Native American tongue calling to the dawn, combined with deep, spacious synths paints an almost spooky mental picture of the rising sun. This track merges almost seamlessly with the delicately composed I Shall Not Walk Alone featuring a washed out effects over vocal renditions of Ben Harpers lyrics, breaking out of a magnificent choral chant. The flutes float beautifully over the same haunting deep-space synths we heard in the prior song, entwined with the didgeridoo and again contrasting two very different cultures. Atmospherics and tension abound with the double-timed percussion section binding us to the ground.

God of Wonders shares a sitar introduction before dropping solidly into a crisp and boppy tune highlighted by the addictive crack of the snare, sitar again soloing over the top. Flute floats in and the slight reverb of the toppy drums gives the didge room to move. 100 bpm feels a little slower than the carry this one gives us.

With the acoustic elements of Rivertribe combining with the electronic aspects of Amanaska, both fusing the world music element, this album gives the listener a pleasant and interesting journey through a collision between cultures. The indigenous sounds of eastern and the western instruments blend with well-rounded beats, a variety of different vocal styles and clean production to make for an album that has an up-tempo feel while embracing the slower genres.

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