My music

New single ‘Gemstone Study Vol. 1’ is here!

Brevyn-GemstoneStudyVol1-CoverArt

Vulpiano Records / My Bandcamp
Further links at Vulpiano

This is my second Netlabel Day release for Vulpiano after Sea Cave / Indigo (available here). Listen and/or download Gemstone Study at the links above.

Top 5 Albums of 2019 (so far)

Top 5 Albums of 2019 (so far) / #4. Voyage Futur – Secret Earth

Voyagefutur

new age / electronic / ambient

More like this – X.Y.R.’s Reflections, New Atlantis Volume 1, Emerald Web’s Nocturne, Michel Genest – Crystal Fantasy

Secret Earth has many of my favorite new age hallmarks: rich synth pads smearing everything in a calming gauze, traces of the subtlest and prettiest synth bells, the lack of dubious ‘world music’ themes and getting that serene v.s. mysterious balance I love to hear in the genre.

Like Vangelis and Emerald Web, Voyage Futur proves excellent at creating moody nature portraits, suggesting stately mountains and dreamt-up forests frozen in time. The marimba+synth pad combo on “Eternal Dawn” is most appealing for me as a keyboard/mallet fanatic. Although there’s a few dull moments, Secret Earth is an ultimately rich and immersive experience. Recommended if you’re curious about the recent crop o electronic new age.

♥︎ – “Eternal Dawn”

hidden treasure

Patrick O’Hearn – Indigo (1991)

new age / progressive electronic / ambient

More like this – Vangelis, Azuma, Patrick O’Hearn’s “Rainmaker” + “Between Two Worlds”

An odd recurrence in the 80s-90s that never fails to pique my curiosity is when people you could deem ‘new age artists’ made songs that were unusually dark-sided. Yet at the same time, the synths and production will sound very similar. Is it besides the whole point of the genre, then (sounding peaceful, inducing relaxation) or not? Whatever the intentions may be, albums like this are after my own heart.

You could say Vangelis pioneered this as many of his songs combined the crystal-clear textures of the era with a more cinematic/ambiguous air. That being said, his work is only the surface of this sensation. Patrick O’Hearn of Missing Persons is one of those special few who happened to explore very close territory, with this fan-favorite album Indigo in particular. To be honest, though, I’m tempted to argue this is more consistent than many of Vangelis’ own albums.

The cover’s moody teal-blue was the first hint. Indigo is the most shadowy, murky new age album I’ve come across, one that molds the normally ‘kitschy’ sound of synth-rhodes into haunting dirges (as on ”Coba” and the mournful closer ”Espana”). Songs like “Desire” and “Sacred Heart” alternate between oceanic drifting and thrilling film-score peaks while others (”Upon the Wings of Night”) choose to float by in the murk.

Rhythms are smooth and flowing, forming careful transitions with his tense keyboard patterns (”Sacrifice”). It’s like a cross between Spencer Nilsen’s Ecco The Dolphin music and those sinister incidental cues you hear in Miami Vice. He’s found a fascinating middle-ground here, and it’s something that doesn’t pop up near enough in his other work.

A lot of Indigo’s appeal lies in the insistence to keep lurking around this haunted fantasy world it’s concocted for itself, but a few areas like “Devil’s Lake” can come off a little self-serious for my liking. Other parts can get long-winded or repetitive – I guess this is a given with something this close to ambient music. Still, I think anyone curious about 80s-90s new age and/or who loves Vangelis should be sure to listen to this. It embodies so many of the things I love about the digital synth era, and the level of hypnotic beauty it achieves remains highly convincing.

♥︎ – “Sacrifice”, “Coba”, “Sacred Heart”, “Desire”