|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
KOMP 143CD
|
Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette -- successively releasing as [a]pendics.shuffle, Bell Gardens, Reverse Commuter, dubLoner, Kenneth James G., KJ Gibbs, Bal Cath, Eight Frozen Modules, and Premature Wig... the list is long. Near to two years after his first incursion on Kompakt with his third studio album The Evening Falls (KOMPPA 004CD/LP, 2016), Gibson returns with In The Fields Of Nothing, his second full-length delivery for the Cologne-based imprint. A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, In The Fields Of Nothing was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole. Like entangling multiple levels of consciousness through a mille-feuille of textures, piano, and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album -- created and recorded right after The Evening Falls came out -- as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion. An attempt at capturing a slice of these ephemeral sensations felt when striding along across the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, In The Fields Of Nothing eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays ("Her Flood") and roomy string-laden folk drifts ("Further From Home") through Ligetian webs of sound ("Thirsty Lullaby", "Fields Of Everything") and poignant threnodies ("Unblinded"), onto sorrowful pop ballads ("Far From Home") and lulling ambient scapes ("To Love A Rotting Piano", "Plastic Consequence"). Essential for fans of Stars Of The Lid, Chuck Johnson, Kaitlyn Aurelia Smith, Visible Cloaks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KOM 381LP
|
LP version. Includes download code. Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette -- successively releasing as [a]pendics.shuffle, Bell Gardens, Reverse Commuter, dubLoner, Kenneth James G., KJ Gibbs, Bal Cath, Eight Frozen Modules, and Premature Wig... the list is long. Near to two years after his first incursion on Kompakt with his third studio album The Evening Falls (KOMPPA 004CD/LP, 2016), Gibson returns with In The Fields Of Nothing, his second full-length delivery for the Cologne-based imprint. A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, In The Fields Of Nothing was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole. Like entangling multiple levels of consciousness through a mille-feuille of textures, piano, and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album -- created and recorded right after The Evening Falls came out -- as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion. An attempt at capturing a slice of these ephemeral sensations felt when striding along across the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, In The Fields Of Nothing eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays ("Her Flood") and roomy string-laden folk drifts ("Further From Home") through Ligetian webs of sound ("Thirsty Lullaby", "Fields Of Everything") and poignant threnodies ("Unblinded"), onto sorrowful pop ballads ("Far From Home") and lulling ambient scapes ("To Love A Rotting Piano", "Plastic Consequence"). Essential for fans of Stars Of The Lid, Chuck Johnson, Kaitlyn Aurelia Smith, Visible Cloaks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
KOMPPA 004CD
|
Kenneth James Gibson, one of the most multifaceted artists in contemporary electronic music, presents the fourth installment in Kompakt's Pop Ambient artist album series. He's the mastermind behind the Adjunct Audio label and projects as diverse as [a]pendics.shuffle, Eight Frozen Modules, Reverse Commuter, neo-Americana duo Bell Gardens (with Stars of the Lid's Brian McBride), and noise pop band Furry Things. On The Evening Falls, he deviates from his more beat-infused work and explores vast aural landscapes with an intricately woven tapestry of swelling string drones, shimmering pedal steel, and minimalist piano motives. The first strictly ambient solo offering from this incredibly versatile composer and musician reveals a delicate sense for rich, ruminant textures and fine-grained synth buzz, dispensing organic highs on tracks like opening movement "To See You Drift," the Polaroid-colored "Long Gone Canadian Summer," the meditative "A Conversation Between Friends," or the terraforming blues of "Lateral Decomposition." The iridescent quality of these recordings almost appears to be born out of an auditory illusion, with the arrangements seemingly evolving in time-lapse and slow-motion at the same time. The natural, wholesome flow of the album certainly finds itself influenced by Gibson's 2014 move to a 6000-foot mountain community called Idyllwild. While two of the tracks on The Evening Falls were started in LA, Gibson found that in order to fully realize them and the rest of the album, he needed to transition away from inner-city roaming. "My wife and I heard the calling of the mountains for a while -- getting deeper into meditation and nature and a slower way of life. There've been beatless tracks on many of my albums, but this is the first full-scale ambient album I've done . . . I simply needed to find the right focus." The result is a masterful addition to Kompakt's growing series of Pop Ambient full-lengths, presenting the fully formed vision of a veteran producer who never lost his taste for sonic adventure. CD includes one extra track.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
KOMPPA 004LP
|
180-gram LP version. Includes download code. Kenneth James Gibson, one of the most multifaceted artists in contemporary electronic music, presents the fourth installment in Kompakt's Pop Ambient artist album series. He's the mastermind behind the Adjunct Audio label and projects as diverse as [a]pendics.shuffle, Eight Frozen Modules, Reverse Commuter, neo-Americana duo Bell Gardens (with Stars of the Lid's Brian McBride), and noise pop band Furry Things. On The Evening Falls, he deviates from his more beat-infused work and explores vast aural landscapes with an intricately woven tapestry of swelling string drones, shimmering pedal steel, and minimalist piano motives. The first strictly ambient solo offering from this incredibly versatile composer and musician reveals a delicate sense for rich, ruminant textures and fine-grained synth buzz, dispensing organic highs on tracks like opening movement "To See You Drift," the Polaroid-colored "Long Gone Canadian Summer," the meditative "A Conversation Between Friends," or the terraforming blues of "Lateral Decomposition." The iridescent quality of these recordings almost appears to be born out of an auditory illusion, with the arrangements seemingly evolving in time-lapse and slow-motion at the same time. The natural, wholesome flow of the album certainly finds itself influenced by Gibson's 2014 move to a 6000-foot mountain community called Idyllwild. While two of the tracks on The Evening Falls were started in LA, Gibson found that in order to fully realize them and the rest of the album, he needed to transition away from inner-city roaming. "My wife and I heard the calling of the mountains for a while -- getting deeper into meditation and nature and a slower way of life. There've been beatless tracks on many of my albums, but this is the first full-scale ambient album I've done . . . I simply needed to find the right focus." The result is a masterful addition to Kompakt's growing series of Pop Ambient full-lengths, presenting the fully formed vision of a veteran producer who never lost his taste for sonic adventure.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
ADJUNCT 027EP
|
This is the 12" release of [a]pendics.shuffle's "Something in the Way" mix from his Kenneth James Gibson album Delusional Tales and Non-Silence. [a]pendics.shuffle's "Extended Mix in 3 Passages Later Edit" is a 14-minute opus, a dancefloor masterpiece with Kelly Johnston's sultry vocals weaving in and out with Kenneth's own, creating an enchanting, psychedelic experience. This tune will guide you through many phases, from deep, driving percussive house to far-out acidic jazz experiences to synth-laden aural adventures. Bruno Pronsato layers his mix with his own brand of impelling modulated sonic blissfulness. Heavy, moving rhythms and throbbing modulations guide you through a web of masterful dancefloor euphoria.
|
|
|
|