Peter Jones
Two pieces of a journey. Exploring the circular nature of any development experience. The embellishments one adds. Basic and real and rich, all at once - except when it's not.
“If you only buy one album of overdriven contrabass clarinet reel-to-reel tape loops this year, make it this one.”
- Milly Manet
“a phenomenally good ambient drone album”
- Electronic Sound magazine
“prime electro-acoustic ambient drone ... lo-fi minimalist compositions that are engaging and engrossing”
- Waveform magazine
Despite being a member of the live-looping community for many years, despite performing at and indeed organising many “loopfests”, despite developing any number of software delays & loopers - despite all this, until this year I had never actually made a tape loop.
This album is the result of my addressing that gap in my experience. Obtaining an old Akai 4000DS Mk-II reel-to-reel recorder from eBay, I set to with a splicing block. The machine came with a few spools of tape, one containing an Abba EP that I didn’t recognise, which became the tape that got chopped up for loops. So each time I recorded new loops for this album, I began the session listening to a looped burst of ‘70s pop, before the tape was wiped. Who knows how this influenced my playing.
After some experimentation I settled on a solution for moving the tape away from the erase head to allow sound-on-sound looping. Then the question was, what to loop? The answer turned out to be contrabass clarinet, through amp simulator and reverb. Almost all the non-synthesiser parts on this record were created with that combination. A few modular synth parts also went through the tape looping process; and the first movement of ‘whispering’ features some tenor sax, not looped at all.
Alongside all this, at the time I was also coming towards the end of the development of a series of analogue synthesiser modules. The tracks here were the final test bed for these, particularly the ‘Lorelei’ VCO, which is why so many of the synth sounds tend towards fairly simple sine tones.
The result? I’ve never been one for message in my music, preferring instead the pure pursuit of beauty - but particularly that special beauty achieved by things that are beautifully ugly. Here, the grunge of the tape, the growl of the contrabass and the contrasting purity of the synths add up to something I find very special.
Dedicated to the memory of Jon Hassell (1937-2021), who passed away just as this album was completed. I had been listening to his “Vernal Equinox” on repeat around that time.
- Andrew Ostler, Edinburgh, October 2021
"This is Andrew Ostler’s first foray into tape loops, and it’s safe to say the Edinburgh producer has taken to looping like a duck to water. Crafted from an old Akai 4000DS Mk-II reel-to-reel recorder, a contrabass clarinet and self-developed analogue synthesiser modules, ‘Rolling Like A Bullet’ is a phenomenally good ambient drone album, full of slow-moving sounds and arresting textures.
"Comprising two 20-minute pieces, ‘Whispering’ first sets in motion a hypnotic, unfurling soundscape where low woodwind tones contrast against the melodic murmur of synths. On ‘Quietly’, there are more enticing electronics swimming in a sea of reverb before a euphoric wave of noise brings things to a soul-cleansing climax.
"Ostler has dedicated ‘Rolling Like A Bullet’ to the memory of Jon Hassell, who passed away as the album was being completed, and fans of the celebrated composer will certainly find plenty to enjoy here."
- Electronic Sound, Issue 91
credits
released June 15, 2022
Andrew Ostler - contrabass clarinet, tenor saxophone, modular synthesizers, tape
Composed, recorded and mixed by Andrew Ostler.
Mastered by Peter Haigh at Pierhouse Studios.
supported by 25 fans who also own “Rolling Like A Bullet”
An immersive and moving experience. Turn out the lights, lie back and imagine the stage glowing as this emission washes over you. Live emotions. Dark forces. Natural power. Let go. Peter Jones
supported by 20 fans who also own “Rolling Like A Bullet”
I love this band and the sound that they produce, but there is at times unacceptable distortion and complete overload on some of the tracks especially on Once Proud Eyes/Haumea near the end of the track. With this kind of music it's sometimes hard to distinguish if the distortion is part of the sound that is being created. I think more attention should be paid to the final mastering. Having said this Darkroom are a band of GREAT talent. coypu
supported by 18 fans who also own “Rolling Like A Bullet”
Another superb release from this highly underrated unit. The duo's mastery of electronics perfectly compliments the very human elements of guitar and woodwind often found at the centre of their compelling music. This release, beautifully packaged, sits among their finest work and is sure to be appreciated by anyone with an interest in ambient, drone, electronica and the chilliest fringes of techno. Make room for the darkness! bobafett5001
A surreal medical mini-universe unfolds through the visual for this techno collective's newest glitch-pop experiment. Bandcamp New & Notable Apr 13, 2016