Switched On: Loscil – The Sails p.1 & 2 (Bandcamp)

by Ben Hogwood

What’s the story?

The Sails is a two-part collection of music written by Loscil for dance projects over the last eight years. It brings together a number of specially commissioned projects, many of which were performed only once – and the Vancouver producer has arranged them into two collections of nine pieces each. These available on Bandcamp at a ‘name your price’ rate for the digital files, or as a double CD edition with special artwork.

What’s the music like?

This is a very interesting insight into Loscil’s creativity, and is a more animated complement to the serenity and vastness of his artist albums.

The two collections work well when listening back to back. There are the flickering messages of Wells, and it soon becomes apparent that there is more nervous energy in the foreground than we are used to in a Loscil set of pieces. This movement it is counteracted by slow, measured steps that are beautifully poised, sometimes acting as drones or operating with slowly shifting harmonies.

Some of the pieces are structured like an arch, with a composition like Still progressing from bare elements to richly textured loops with more movement, and then panning out again. Wolf Wind, a striking evocation, has a settled backdrop of a single held drone that changes colour thanks to the subtle movement in the middle ground.

Loscil also uses beats in a subtle but meaningful way. In Never they ricochet across the stereo picture, increasing their dominance over the slower musical processes going on behind. By contrast a work like Century has a stately beauty, like the opening of a flower.

Does it all work?

It does. The music has a different ambience to it from Loscil’s through-composed albums, but the use of more animated musical figures against a background stillness is still immensely reassuring, panning out into some richly shaded scenes.

Is it recommended?

Yes – the ideal complement if you already own a good deal of Loscil’s music. If you don’t, the ‘name your price’ option gives you no excuse not to get acquainted!

Listen & Acquire

Switched On – Loscil: Clara (Kranky)


reviewed by Ben Hogwood

What’s the story?

‘Clara’ is the Latin word for ‘bright’. It is employed by Vancouver’s Scott Morgan to describe his latest album under the Loscil moniker. Morgan is a highly productive musician known for making minimal material stretch a long way, but with Clara he has outdone himself.

Taking a three-minute piece for a 22-piece string orchestra, Morgan recorded the output but then subjected the recording to heavy treatment. The master was purposefully damaged, introducing surface noise to give the impression of recordings made outside in the field, with gravelly scratches and frissons of white noise.

To match this, Morgan took snapshots of the score, stretching them into almost unrecognisable, broad canvases – rather like the detail you would find on a set of micro-models. The effect, as he says, is that “shadows are amplified and bright spots dimmed.”

What’s the music like?

Too often music is described as immersive, but the music of Loscil cannot be seen as anything else. As it unfolds, Clara has the reassuring regularity of a tidal system, its rich colours mixed together in a slowly moving but utterly compelling cycle. The tracks work on their own terms but are best experienced as part of the whole, as material from the original three-minute track stretches out to 70 minutes.

Although this is the first time Loscil has explicitly taken the orchestra for his inspiration, his music has always had suitable dimensions for these large-scale arrangements, and so Clara represents more of a shift in colour than a change in textural depth. With this in mind, Lucida paints pastel shades while a single chime tolls, but while that track has a metronomic regularity, Stella reaches a beautiful stillness, the ebb and flow of just two repeated chords providing the ultimate ambience over a ten-minute structure. From here Loscil naturally segues into Vespera, where a regularly turning mechanism sounds like the onward motion of a boat. Aura exhibits a more remote beauty, looking farther afield after the slowly bubbling Sol. Darker tones are used for the title track, in spite of its Latin meaning, a rich chord building with purpose from the bass strings before we glimpse the light in the violins. Eventually it fades over the horizon like the setting sun.

Does it all work?

Emphatically. Morgan makes ever-more meaningful and powerful music, which remains by turns simple and incredibly pictorial. His music gives the listener a wider perspective, a grasp of the earth’s vast spaces from their own little corner of the world. It reminds us how, in an age of technology that moves faster than ever before, nature has not quickened its pace to follow suit, proceeding where possible with its same sure-footed and inevitable progress.

As Loscil, Morgan gives us the reassurance that despite those supposed human advances, the progress of geology and nature is unlikely to ever be fully checked.

Is it recommended?

Yes. Clara is another very strong addition to the remarkably consistent Loscil canon, which continues to evolve and develop without repeating itself. It provides another reminder of just how far Scott Morgan is able to stretch the barest of musical material, resulting in an album of awesome depth and presence.




Playlist – Digitonal

It gives us great pleasure to welcome Digitonal‘s Andy Dobson to Arcana’s playlist section.

He has been busy working on album number four for Digitonal, Set The Weather Fair – released only last Friday on the Just Music label. It features a typically blissful set of sonic pictures, with extra-descriptive hues from Dobson’s clarinet and cello.

The Spotify playlist here is a selection of music that led to the album, and it includes restful but thoroughly immersive ambient music from varied sources such as Loscil, Pye Corner Audio, Philip Glass and BT:

Our thanks to Andy for this regenerating collection of music. Digitonal’s new album Set The Weather Fair is out now on Just Music. You can listen and purchase on the Bandcamp embed below:

Playlist – Sound of Mind

With the world in such a weird place at the moment, now seems like a good time to share a playlist of ambient music to ease the mind.

This one, homemade on the hoof, includes some personal favourites from Steve Reich, Philip Glass, Brian Eno, The Orb and a whole lot more:

I hope you enjoy it – and if you have any suggestions for future playlists please get in touch. Happy to do a whole load more!

Ben Hogwood

In concert – Loscil & Marconi Union @ Rich Mix, London

Loscil & Marconi Union

Rich Mix, London, Monday 21 October 2019

Written by and images (c) Ben Hogwood

How do you define pure musical ambience? Is it music you can leave it on in the background and do all manner of tasks to, or is it the sort where you become so transfixed that everything else is blocked out?

Loscil’s music falls emphatically into the latter category. He may have been on the stage at Rich Mix for 45 minutes, but for that time the entire audience were gathered up and taken to the outer reaches of Vancouver, British Columbia. This is where Scott Morgan, the man behind the moniker, resides – and it is the wild, open panoramas of the region that his music so successfully evokes.

Equivalents, his most recent album, is a series of responses to black and white photographs of clouds by Alfred Stieglitz in the early 20th century, and the formations billowed on projections behind Morgan for much of his set. This aided the feeling of total immersion in the elements, meaning all we were lacking was the wind on our faces and the rain on our heads.

With little in the way of propulsive rhythm, Loscil’s music somehow captures the raw power and scale of the elements, the expanse of the Pacific coast stretching out as far as the eye can see. The mind’s eye is also drawn to natural phenomena closer at hand, with forests, lakes and birds all effortlessly alighting in the imagination.

We traversed five numbers from the Equivalents album in all, in a I – III – II – V – VII formation (with the image for the beautifully restful II shown above). The air was thick with big chords, Loscil’s keyboards and sequencing taking on quasi-orchestral designs. When silence arrived, in the middle of the set, nobody dared to move – and, after an intake of breath, on we went. It is a long time since I saw an audience so transfixed in a gig, and Loscil’s music took us somewhere truly special, way outside of a bar in Bethnal Green.

Supporting this transcendental experience was a more beat-driven variation on musical ambience from Marconi Union (above). The long-standing Manchester group make music that is more urban in origin, at one with the setting in which we found ourselves. Like Loscil they used projections, usually halved on the screen and complementing the more city-based and percussive approach perfectly.

Night time visions for tracks like Sleeper were transporting, as were the images of travel by car or train before them. Piano and guitar were key elements here, sensitively played as the quartet gelled effortlessly on stage.

The first part of Weightless was arguably the most effective, its subtly changing textures and evocations of twinkling lights most effective before an audience fully on board with this antidote to Monday night drudgery.

Both acts offered proof positive that ambience can be a transporting experience, and that the rich talent and intensity in this field remains undimmed. With well-chosen DJ sets from The Grid’s Richard Norris in and around the live acts, as part of his Group Mind initiative, this was a night to celebrate the surprising power of ambient music, whether foreground or background.