Drummer and saxophonist for Destroyer but If you haven’t heard any of Loscil’s 12 albums this is as good a place as any to start. Warm synthesis, subtle dubby chords meet field sampling in an ambient space-capturing setting, a sense of place and the grandeur within it. Droney, but so very musical.
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Aah, lovely glacially chilly electronica for the onset of freezing bloody Winter. The office feels very much like the open warehouse it (sort of) is, and here is my appropriate soundtrack for the next half-hour or so. Scott Morgan -- Loscil -- how fucking prolific is he? Well, very I’d say. A Quickly scanning his Discogs reveals Morgan has produced at least one album for each of the past fifteen years. His latest, Monument Builders, may be rough-hewn architecturally but it feels every bit as smooth as alabaster or polished marble. It was apparently inspired by his viewing of a battered old video tape of Koyaanisqatsi -- and notably, Philip Glass’s towering score of said film -- and I can relate; OK so that’s one for a rainy Sunday afternoon. Loscil is for NOW, goddammit.
The slightly gritty and lo-fi feel of the album’s title track with its flowing and ebbing static bursts would certainly bear this out -- waves and washes of semi-organic sound are the aural equivalent of picture wobble and tape warp. Gorgeous watery synths mix with elegant and stately brass; a muted french horn adds a layer of austere sincerity. The whole package is wrapped in a translucent electronic film, giving it a pleasing sheen. There’s moody brass overdrive on the ominous -- no, check that, downright bloomin scary -- blaring, distorted rise and shimmering fall of ‘Straw Dogs’. But surely that’s from another film entirely… right, Scott? You can’t fool me and my Cornish roots. ‘Deceiver’ and ‘Anthropocene’ continue the brooding / swelling cycle nicely and Scott pulls out the soothing chill on the closer, ‘Weeds’. Thanks for that.
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- Monument Builders by Loscil
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