![]() ![]() This is the energetic peak of the record. But here I am less interested in hypnotic repetition than the idea of an unfolding narrative, of progress. ![]() We build to a distorted melodic climax - huge, almost post-rock-esque - before crashing back into a heavy MS20 riff section, something I wanted to be briefly reminiscent of my last album Immunity. The complexity and irregularity of the last track is followed by the most blunt, joyful and unashamed "dance music" on the album. Jon Hopkins' new album, Singularity, is out now. I was aiming for a propulsive, euphoric power in the end section, yet with a complexity that keeps everything more guarded, holding something back for the next song. ![]() I wanted to capture a contrast between such heavily processed electronic sounds and the vibrating purity of these acoustic bells. Towards the end, a more cosmic element is introduced by the appearance of singing bowls and blossom bells. We move between all chords at irregular intervals: everything constantly in flux. In a way, this is my interpretation of "trance," but with nothing staying static or looping and an element of mystery pervading. 5/4 and 4/4 time signatures operate simultaneously. When a bass drum appears in the middle of it, this broken rhythm suddenly makes sense. The opening chordal pad is gradually, rhythmically eroded into smaller and smaller sections, before soon becoming a disorientating rhythm that twists and unfolds, but feels impenetrable. "Neon Pattern Drum"Įverything morphs in this one everything is alive. All of this culminates in a defiant and cathartic beats section. The reversed vocals gently wrap themselves around the chords - this human element feels as if it is leading us to safety. Slowly, persistently, we are uplifted and a cosmic, hypnotic beauty emerges. This again is destroyed and replaced by a broken, propulsive chordal riff that only starts to make sense when it modulates and morphs upwards. "Emerald Rush"Ī glittering new soundscape offers an immediate antithesis to the industrial, grinding destruction of before - waterfalls of polyrhythmic arpeggios with pure drops of piano, like rain. I wanted this to be a confrontational, even shocking, beginning to the album. We are left in tatters by the distorted burst at the end. Fleeting hope is destroyed with brutal efficiency in the machine-like concluding section. There is small hope concealed in the melodic lines that intertwine and flow around the drone, but this is a momentary euphoria. Then follows the central arpeggio riff - maybe this embodies the marching, destructive progress of technology. The foreboding sub bass in the intro is a recording of thunder, tuned to four octaves beneath the drone. The album begins with a drone: the one note from which everything grows. ![]()
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