There is a certain logic to that decision, as “Hodos” is the only piece on For me, those two pieces are the true beating heart and emotional core of the album, but Scott saves a couple of other strong ideas for the album’s final act. I highly recommend picking up a copy of Soundings as well as diving into all of Simon Scott’s back catalog. As a result, “Apricity” initially seems poised to be the album’s crown jewel, but it takes a curious detour around the nine-minute mark and rides out its final third as kind of a locked-groove of gently pulsing, pastoral ambient music.I am admittedly a bit perplexed as to why Scott chose to dilute one of his strongest pieces in that fashion, as well as end the album on such a comparatively forgettable note.

Gone is the drum kit and 4/4 beats of his mainstay band. In our opinion, the album’s only miscalculation is that at 52 minutes, the album had room to include the full composition. Below Sea Level was Scott’s debut album for 12k, released in May 2012 and it was rereleased in 2015 by … 1971), a British electronic music producer and multi-instrumentalist, who lives and works in Cambridge, England. While listening to “Apricity,” one feels a sense of Described by the artist as a kind of travelogue, gathered, edited, composed and considered over a four-year period that included the reunion and tour of his ’90s band, Slowdive, Simon Scott delivers an appropriately dislocated collection of soundscapes that are dizzying in their swings between blurred acceleration and detailed stillness.Opener “Hodos” serves as introduction and précis key to the album, with a field recording of 140 km winds from a storm in Cambridge that eventually cedes to cicadas recorded much later in Brisbane. Quelques bruissements et crépitations continuent de s’entendre, reflets des captations réalisées de par le monde, mais l’adjonction des cordes, des accords de synthé, de rythmiques un peu lointaines et autres traitements permettent d’aller vers des contrées plus riches encore.

Dreamy synths and strings populate the piece as panning gives the sounds a glacial movement while deepening the textural choices.“Baaval” is a more ephemeral piece with a deep core tone that reverberates out into a fuzzier texture.

The synth work here is subtle but engaging. It was my major ambition to be on Creation and then it happened. “I took a home recording I made of Storm Barney in Cambridge, listening to it on repeat when I was flying from continent to continent. Still, it is not nearly enough of a wobble to derail an otherwise excellent album. By the end, however, it warms into something approaching a sort of precarious radiance, like a faint sunrise chasing away some of the more menacing shadows. Scott opted instead to offer a 20-minute live track as a bonus cut, while extending the mix to 60 minutes for the cassette. It is accompanied by beautiful synth tones that feel like deep pools of refreshing water and the strings slide about, creating ease and contemplative moments. The tracks drift together like sheets of polar ice.

The result: a vertiginous, ghostly new perspective on the Slowdive sound, placing the song as a pinched shadow of itself framed by billowing negative space. We weren’t allowed to contribute and I wanted to keep playing music and wrote songs so I moved on.I recently saw Nick and Christian and they said they wished they’d left when I went as I believe it all went stale. Comme souvent avec pareil registre, le musicien trouve évidemment matière à déployer son propos avec cette durée étendue.

*Additional 20 minute bonus track features a live recording from the Jazz Café in London in October 2018Soundings, his debut studio album for Touch (he previously released the live album ‘Floodlines’ in 2016 and re-issued “Below Sea Level” in 2017), finds Simon Scott, the composer and sound ecologist, using field recordings from various cities around the globe; modular synthesizer treatments; live strings and laptop electronics to create an album of transition and shifting time zones.

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