YNICORNS FALLING & FELL

Doug Stanford a.k.a YNICORNS Falling & Fell is an ambient, post-rock epic. Theres intense emotion and
warmth commenced within every sound. Music of this competence will conjure up your most beloved
memories and transport you back into those moments; leaving you in awe and wonderment. With only 3
tracks, YNICORNS managed to create a collection of music that is nothing short of a treasure. Each track
is like its own unique gem; held perfectly in its place.

Falling & Fell begins with the track Five More Minutes Breathing Through Your Hair. A sweeping,
whimsical piece presenting a beautiful, looping guitar arrangement that takes us throughout the entirety of
the track. The layering of the several guitar arrangements in this track are placed together perfectly;
generating a dreamy resonance thatll give you the chills. When it reaches its peak, its almost as if time
starts moving in slow motion. You take a deep breath and let yourself be calmed by it.

A Thousand Yard Stare delivers a beautiful wind gust type ambience that moves in and out underneath
the reverb and the crisp, simple guitar. This track amply shows off YNICORNS ability to compose awless
transitions within a song. Every new element naturally fades in, almost as if it were there all along; making
the composition a true, unique entity. A Thousand Yard Stare moves slowly and peacefully; expanding
the meditational ingredients that make up YNICORNS.

The last track, Steel Wire Bound With Twine, takes a bit of a shift. Theres a hypnotizing, glitchy, looping
guitar from beginning to end that is always at attention. Then, an absolutely perfect, simple, post-rock
guitar plucking comes in over it; swaying you left and right. To me, it feels like the tempo is corresponding
to the motions of the sea; its organic and instinctive. Toward the end of Steel Wire Bound With Twine a
warm blanket of reverb, distorted guitar is gently laid over the track; bringing it all together into one, all-
encompassing, audible sentiment. A nale of authentic closure.

YNICORNS is the type of music that reminds you to relish in the present moment, to appreciate what you
have, and to not worry about what is out of your control. Falling & Fell is truly a gift. Its music for living life
to the fullest.

http://indeliblenichecollective.wordpress.com/2014/02/23/review-ynicorns-falling-fell/

GOYA PRODUCING MONSTERS

Its 9:00 AM and I just woke up. Im squinting at my computer, sipping on black coffee, and listening to
Goyas latest EP on Indelible Niche Collective Producing Monsters. My mind immediately scans for
possible inuences and inspirations in relation to the style of the rst track Knock Em Dead. The
production style, the ow, and the lyrics are all reminiscent of the nitty gritty roots of hip hop. Some may
perceive it as what hip hop once was, but with Producing Monsters, Goya proves that the core essence
of hip hop is still relevant today. He really stands out to me, becoming one of my most recent favorite
MCs.

Goya (of Intelligent Quotes) is a hip hop artist out of Tuscaloosa, Alabama. Hes inuenced by
underground hip hop, the energetic liberty of punk, and the technicalities of metal. These inuences meld
into the very unique, yet appreciable sound of Goya.

Out of the eleven tracks on this EP, eight of them are produced by INCs own sLanguage. And as we all
know, sLanguage never lets us down. Id like to put a spotlight on Faustian Blues. The sample
immediately grabs your attention. A traditional blues guitar riff, twangy vocals, followed by Goya going in
right off the bat. Goyas talent for storytelling in his writing functions awlessly in this track. The title,
Faustian Blues, refers to Faust: A magician of German legend who enters into a compact with the devil. In
the track, Goya puts his own spin on telling a tale of a wanderer who encounters the devil. This, along
with sLanguages production, make Faustian Blues a true blues/hip hop hybrid tale.

Per Mission To Speak features a very impressive and grandiose beat from Teddy Roxpin. The pitched up
vocal samples are present all the way through, along with a slap in the face snare. Goyas dark,
humorous, and raw lyrics t the production perfectly. This track is full of clever punchlines. Illuminate The
Undergroud is an ominous toned track. sLanguages production sets the mood off right before Goya
comes in with: Lay awake and wasted. Eight hours straight listening to static between radio stations.
Where did all the time go?. Goyas knack for painting a picture with words is more present than ever in
this track. The dark subject matter could or could not be relatable to a listener, but that doesnt entirely
matter. Its impossible to not go through the motions of the protagonist in this song as you listen to it, and
if it is relatable than Illuminate The Underground could be a gift to you.

Dipped In Gold is a passionately raw ode to the good ol days of hip hop. sLanguages abstract piano
production moves along smoothly under Goya and sLanguages verbal jabs at whack MCs. My personal
favorite line from this track (and possibly from any MC ever) comes from Goya: Apex predator. Apparent
in each bar Ive written. Knock you out the game like an act of social darwinism. Incredibly smart, clever,
and simply dope lines like this are what really makes Goya stand out to me. He knows what points he
wants to get across and hell do it in the least expectable way, leaving you dumbfounded. Another detail of
Dipped In Gold that I love is that Goya and sLanguage quickly bounce off one another entirely throughout.
My favorite line from sLanguage is: Style dipped in gold, cause to the old school I am grateful, so even if
youre platinum our skills still outweigh you. This line captures the essence of the track. sLanguage and
Goya are about skill, talent and their craft. Trivial things arent as important as simply just being a dope
MC.

I love the turn that Producing Monsters takes toward the end with production from Rythum and Jublet.
Both are very talented, experimental producers. The track produced by Rythum, Street Light Flicker, is a
slow, off-tempo groove thats layered with all sorts of soothing sounds. The track produced by Jublet,
Sleep Of Reason, is very (for lack of a better word) trippy. It begins with a pitched up voice singing over a
demonic sounding piano. Forgive my ignorance, because I dont know the sample being used here, but
whatever it is, its highly effective. The track continues with the demonic piano under a quick boom bap.
Denitely one of the most unique and abstract beats Ive heard in some time.

Producing Monsters is big and small. Its explosive, yet humble. It takes its time to make you feel
comfortable only to hype you up the next minute. Goya and his collaborators came out with a VERY well
rounded EP. A collection of hip hop that serves as higher quality than most hip hop we hear today. I dont
know Goya personally, but if I had the pleasure to meet him Id ask him about his goals and where he
sees his music career going in the next ten years. Then, Id tell him that I see him doing big things in the
name of real hip hop in the future.

http://indeliblenichecollective.wordpress.com/2013/12/03/review-goya-producing-monsters/

FREEVOLV FREEVOLVING

Freevolving presents some of the nest production Ive ever heard. The complexity, experimentalism, and
sheer technique in this release is exceedingly impressive and a work of art that I believe ANY music lover
can appreciate. Freevolv is Stephen Perez (evolv) and Justin Kerr (Jahfree). Together they make noise
unlike any other, and it is something to be in awe of.

The concept behind Freevolv is basically evolv ipped combined with experimental drums, but
experimental is an ambiguous term. It can be a good thing, but it can also be a bad thing. Freevolv is
experimental in the best way. Theres a genuine process involved here. evolv produces the melodies and
Jahfree ips them and layers percussion and synth. Its not enough to just mention that Jahfree layers
percussion though. Justin Kerr (Jahfree) is a percussion major from the Berklee College of Music and his
percussion work with Freevolv is tremendous. Theres a foundation beat that you can detect easily and
vibe too, but theres also this second beat that goes right along with it, making it entirely unique.
Jahfrees percussion is cerebral. Its experimental and abstract, but smooth at the same time. Its never
too out of control where you cant nod your head. The rst listen through of Freevlolving keeps you in your
seat, thinking about every little detail. The second listen through has that appreciation to detail mixed with
however you may dance because you will be dancing.

Many of the tracks on Freevolving have a frantic energy. A good example of this is the last track
extrovert. It has an anxious, looping melody proceeded by fast, jittery production without a kick drum.
Then, theres a lull, proceeded by really nice, jazzy percussion. The creepy, anxious melody keeps
growing and captures the vibe perfectly. Freevolving Orbits has a momentum to it. It seemingly speeds
up, and slows down throughout the entire track. Its noticeable upon analysis, but slides along nicely with
easy listening. The spacey bells, and restless synths on this track are oohing short of groovy. evolvfree
brings the tempo down a bit and casually rocks along, until toward the very end there is a short, but
dexterous synth solo that is jarring at rst, but once it ends you realize how rad it was and want to listen to
it again.

I interpret Freevolv as having an everlasting anxious feeling. This may just be because Im somewhat of
an anxious person. Though, I believe that there are layers underneath the anxious percussion that soften
it to create an abstract anti-anxious sense that is actually very soothing. Id like to speak with others on
how Freevolving makes them feel. I think there would be differing results all around, but with a common
sense of love and wonder. The project as a whole is so complete and well executed that I almost marvel
at it. Its a difcult task to create a group of songs and have them ow into each other. Freevolving does it
awlessly.

http://indeliblenichecollective.wordpress.com/2013/10/21/review-freevolv-freevolving/

RHYTHUM VISUALIZING SPECTRUMS

Visualizing Spectrums is diverse, abstract, and symbiotic. With hip hop production at its core, it would be
an understatement to group it within that, because theres much more going on here that makes it its own
entity. Rhythum (Howie Wonder) is a bit mysterious as far as his online presence goes, but what truly isnt
mysterious about him is his potential to make great music. Visualizing Spectrums is one of MANY
releases hes put out, but its his rst with Indelible Niche Collective.

Its obvious on this album that Rhythum isnt one to shy away from doing the unexpected. He makes very
interesting choices throughout every single song by experimenting with and merging many styles and
genres that would seem unt to most.

""LN"SS is one of many stand out tracks on this album. The album really takes a turn when
""LN"SS starts and it introduces a whole new atmosphere that clicks in to just what _Visualizing
Spectrums_ is about. It begins with a standard slow tempo beat over a spacey, distant synth that is a
really nice groove, but its at about a minute in when the ""LN"SS really takes its shape. This gritty,
distorted guitar riff comes in and slaps you in the face, then immediately following is a heavy synth doing
just about the same riff. They contrast each other in the best way possible.

DRE#M"RS is another track that I really dig. It sounds like hip hop under water to me. It begins with a
quote about bringing dreams to life by Kanye West then goes right into sweeping chimes and abstract
sounds over a jagged beat that works really well. Theres really nice textures in this track that give it that
under water feeling.

HYPTH"SIS has a science ction vibe to it that is very unique sounding. The track starts with a
modest guitar picking then lets the beat sneak in. Theres hints of distorted guitar throughout that work
really nicely. About a minute into the track this haunting theremin sounding synth begins that gives it a
cinematic feel.

What Visualizing Spectrums does very well is that it blends organic with digital impeccably to create
something unlike anything else. Rhythum takes hip hop production and ips it on its head by adding
detail after detail into every second of every track. No sample, or drum beat is left alone with normality.

http://indeliblenichecollective.wordpress.com/2013/10/01/review-rhythum-visualizing-spectrums/

EVOLV BUILDING NOTHING, LAYING BRICKS

Love suffers long and is kind. It is not proud. Love bears all things, believes all things, hopes all things,
and endures all things. Love never fails and now these three remain: Faith, hope and love. But the
greatest of these, is love. The rst track of Building Nothing, Laying Bricks ishous begins with this
quote. Being a huge fan, I know that this audio sample is from The Ofce. I can especially tell, because of
the whispered I love you after it, but the quote originates from 1st Corinthians 13. This quote introduces
the overall theme of the album perfectly. Love in a general sense. Love in several different forms. Love for
your signicant other, as well as your child. Building Nothing, Laying Bricks was released as soon as
possible after the birth of Stephen Perezs son, Silas Andrew Perez. The album is a pure and loving
dedication to his son and the everlasting love he has for him.

Building Nothing, Laying Bricks is nothing short of beautiful. The album is embraced with love. You can
physically feel the emotion, love and dedication when listening to these songs. Stephen Perez, with help
from Jacob Gemmell working Co-Mix/post production, really created an atmosphere. As soon as the live
percussion comes in at the beginning of the second track Helena, you know what youre in for an
atmosphere/texture/post-rock/ambient blend that grabs at the core of your emotions. Its music that brings
forth memories and optimism.

The title track Building Nothing, Laying Bricks begins with birds chirping and a sample of Stephen and
his nephew Xaiver playing until it slowly swells up to the beat. The use of the sample of Stephen and his
nephew in this track is heart-warming, and the intension is lovely. Colours presents some very graceful
and gorgeous guitar work. Its quite simple, but very effective. The dueling guitars, ambient bells, and
slow drumming really capture the feeling of this album. Strange Lights is a short detour that takes you
somewhere new. The hard saw synth along with more minimal synth underneath rings a unique vibration
that I really love. Indistinct Memories featuring Indelible Niche Collectives own Ackurate is a stand out
track. The sputtering, ambient synths under Ackurates genius spoken word poetry about love, and life is
almost a tear jerker Its that divine.

My personal favorite track on the album is Darkness Matters. Its almost like two different songs in one,
with a awless transition. Im a sucker for a good beat, and thats exactly what this song has. Its a bit
dancey, yet sentimental. The evolv bells, over a solid synth bass, along with the beat is pure bliss to me.
Halfway through the song, the beat reduces, and an organ-like, stuttered synth rises. Then, the beat
returns and its a whole new groove thats equally great. The guitar on Wavering Between Extremes is
very prevelant and eclectic. The song builds up to a loud, distorted guitar riff over head banging
percussion, and ends with a similar progression on acoustic guitar. The esthetics of the contrasting
sounds adds to the atmosphere of the track, as well as the entire album.

Masterpiece can be a strong word, but not in this case. I believe that Building Nothing, Laying Bricks is a
masterpiece. Its evolvs nest work. The skill, craft, emotion, and dedication are all outstanding here. As if
evolv wasnt already incredible, Building Nothing, Laying Bricks stands as the beginning of a new era in
his creative career, as well as his personal life with his new son, Silas Andrew Perez. Congratulations
Stephen Perez.

http://indeliblenichecollective.wordpress.com/2013/11/03/review-evolv-
buildingnothinglayingbricks-2/

ACKURATE VERSOLOGY

Coming off of his outstanding 2012 mixtape Ackurate Precision, Ackurate (or AckurateThaWise) whips up
some of the old, and brings forward something new in his latest release Versology. Versology is a 6 track
EP and is Ackurates rst release with Indelible Niche Collective.

Ackurate is an artist out of East Saint Louis, Illinois. A region that lacks in having any real hip hop, or
spoken word around. Ackurate brings forth the entire spectrum of positivity in his music, expressing topics
on strengths, weaknesses, society, and his own personal life.

Its impossible to write about this EP without rst conveying my adoration for the opening track Chest
Work (Clarity). Staying in the fashion of Artistic Soul, the opening track on Ackurate Percision Chest
Work (Clarity) is all spoken word. Sounding like the true poet that he is, Ackurate speaks on working at
strengthening his craft, staying patient, doubting himself, and being honest with himself and God. The
tranquil sounds of cicadas and grasshoppers under Ackurates resonant voice births an image that
immediately sets the tone of this EP.

Although this EP features production from the likes of Dj Premier, Hi-Tek, and Eric G that doesnt
deviate from capturing the message Ackurate is communicating. In the closing track Black Pen, Bright
Ink we hear Ackurate rapping over Eric Gs Shining Moment, a more experimental production from what
weve previously heard. This incorporates an entirely new range to what Ackurate is capable of. I dont
rap, I illuminate that track with some facts is the cherry on top of this EP as the very last line.

Supernova features an incomparable verse from Jane G33. She GOES OFF with word after word sliding
off her tongue awlessly and encompassing her quick, consistent ow. This track is truly dope and acts as
a nice detour into a harder tone.

Rock On (Prod. by Shon J) is the only original track on the EP. It also happens to be my personal
favorite. Shon Js beat expresses such a specic feeling in my mind. Its that walking alone at night,
headphones on, and just vibing kind of beat. Its pure bliss. It only gets better when Ackurate starts to do
his thing. Hes rapping about how these songs arent just cardboard rap songs. Theyre poems. Theres a
real message in these lyrics. Its kind of spiritual, extraordinary essences to elevate the echelon, showed
you what progression is. Puried the picture with the purpose that it gives you. Working in search of
motivation owing to the surface. Ackurate expresses his positivity here. He also expresses how caring
he is with his music. He really wants to make you feel something. He wants you to procure positivity out of
it, and hopefully help you and your life to be the best it can be.

The honesty and vulnerability that Ackurate expresses on Versology is truly a breath of fresh air. Hip hop
of this caliber is largely disparate, but deserves everyones ears. I believe that this is the kind of hip hop
that can convert anyone who thinks hip hop isnt worth their time.

http://indeliblenichecollective.wordpress.com/2013/09/10/ackurate-versology/

PEN PALS BACK FOR ANOTHER ONE!

Back For Another One! brings forth a blooming reminder of the kindred collaboration that is Pen Pals.
sLanguage (formally Lackow Intolerant) and Fathom bounce off one another awlessly over a collection
of beats that meld together to create a very satisfying release.

Their rst release, the Pen Pals EP, showed us their potential over ve tracks from four different
producers. Back For Another One! holds a solid six tracks from only two different producers, one of these
producers being sLanguage himself. If theres anything that the Pen Pals EP is missing (which there
really isnt), its the imaginative production from sLanguage.

Into the rst ten seconds of the rst track, The Word, I was teleported to 1994. Theres that old school
simplicity of hip hop thats asking Whats the word? Followed by classic bars about being a dope emcee
and a procient writer. After hearing The Word, I knew for a fact that I was not leaving until Ive heard this
entire album.

What I enjoy most about sLanguage and Fathom collectively is that they occasionally rap about writing.
Its a subject that seems like it would be boring to some, but they make it more dope than Ive ever heard
before. Lines like Fathoms Diggin in crates, gettin cuts and scraps, then Im writing rhymes till my
metatarsals ache from The Word, and sLanguages Composing y rhymes not from the same mother,
but were either Pen Pals or the two Wright (write) brothers from Bear Witness are perfect examples of
this. Fathom drops metatarsals, making the line ultimately that much nicer, and sLanguage shows off
his skills in wordplay with Wright/write, which works perfectly on all levels.

The production on this album is consistent and tight. Even Jivin, the one track not produced by
sLanguage, but produced by the one and only Doc Heller, ts right in the mix even though its a more
hyped track. Id also like to mention how awesome Uvees verse on this track is. Kids at your show raise
their hands to cover yawns. A really nice, clever line. I just love it.

Im not writing this with the intention to critically review this album. This is more of a personal review
explaining how much I love the album, and why I love it. Pen Pals are very talented dudes. They know
exactly what they want when it comes to making hip hop, and they do just that Make hip hop. Back For
Another One! gets me more excited about hip hop than the majority of new releases from the more well
known artists around today. I think anyone who is actually a fan of hip hop will get hooked on Pen Pals
immediately.

http://indeliblenichecollective.wordpress.com/2013/09/05/pen-pals-back-for-another-one/

SLIM THE CHEMIST EM POUCAS PALAVRAS

Summer is slowly coming to an end, and where Im from (Seattle area) this is most likely our last week of
any real sunshine until at least April. This is just one reason on why Ive been listening to Slim The
Chemists Em Poucas Palavras on repeat. Slim brought it back to the basics with this release, using only
an old record player and his Mpc1000. Em Poucas Palavras is a collection of beats based on Brazilian
Funk, Soul, and Folk samples from lost South American music, and it is a beautiful meld of crate diggin,
genuine curiosity, and talent.

Slim The Chemist (David Liedtke) is a Producer/Beatmaker from Dsseldorf/Germany. Born in 1995, hes
still just a kid, but judging by his body of work you can tell that he puts everything into his craft. Em
Poucas Palavras is Slims rst release with Indelible Niche Collective, but it isnt his latest release overall.
Only ve months after Em Poucas Palavrass release in February, he put out the Silence EP on Roots Of
Society Records. You can check that out here.

Em Poucas Palavras Is Portuguese for In A Nutshell, and there couldnt be a better tting title. In A
Nutshell, this is the epitome of South American culture ipped into hip hop beats. Im going to be honest
prior to thinking about writing this review I had only heard a few tracks from this release, but once I began
to listen to it in full a few weeks ago, I couldnt stop. Since then Ive been listening to it on my way to work,
on my way home from work, at home while I write, and even while I read on my down time.

This entire album is full of very crisp, pronounced drums and the work done on these drums is just
fantastic. Theyre never too repetitive, but never too complex. The perfect balance that really creates a
nice, clean vibe. Listening to this album, I cant help but believe that Slim picks and chooses the samples
he uses very carefully. Almost like Its a puzzle that hes putting together, and once its nished, thats
exactly how its supposed to be. Every sample ts in comfortably.

The cinematic samples spread throughout this album do a really great job at integrating a narrative
energy to it truly making it a complete piece of work. Almost every track features speaking samples. For
example: The track Morning begins with a man yelling out wake up! wake up! wake up! before heading
into beautiful layers of piano samples that ow swimmingly with the beat to create a very Morning
feeling. The fourth track on Em Poucas Palavras, Know me (SKIT) captures a very specic narrative that
I think blends in well with the album. It features a sample of the legendary hip-hop musician Melle Mel
boasting over a very smooth, elegant, and jazzy piece. The nal track ultimo is a short track that ties the
knot on this album very nicely. Its got a slower tempo to it, and a calming sense that I really love.

When I listen to Slim The Chemist I hear Nujabes, I hear Oddisee, I hear Pete Rock, I even hear some
Dilla. Im saying this with complete admiration and high praise. Its clear what Slim is going for with his
music and he absolutely nails it. His inuence and inspiration bleeds through every sample, and every
beat. David Liedtke is such a talent and Im tremendously excited to see where his talent takes him in the
future.

http://indeliblenichecollective.wordpress.com/2013/09/16/review-slim-the-chemist-em-poucas-
palavras/

SAGE - SELVMORD

Sage is the work of 16-year-old Adorian Robles of Southern California. Selvmord, Sage rst ofcial
release with Indelible Niche Collective, plugs into a modern minimalist vibe; a concept not yet fully
explored. Listening to the ambient/drone inspired EP, you may come to think of dystopian realities, such
as George Orwells 1984. Selvmord conjures up other-worldly reections in your mind; presenting a new
logic in the form of beautiful music.

Selvmord begins with the track Left, A lush and ominous soundscape. The dark piano hits are spacey
and far apart with a full breath of inactivity between them that ttingly adds to the atmosphere of the
composition. Near the end of the track, a low buzzing bass swells in followed by reverb absorbed, high
pitched piano hits that sound pleasantly dream-like. Right off the bat you get a taste of the abstract
elements that make up Selvmord.

If Left wasnt enough of an accurate representation of the haunting, apocalyptic, and down right sinister
vibe of Sage music, dosed on death makes it positively clear. The track begins with horror lm style
bass hits that resonate almost as if they were a series of explosions. A faint synth carries on throughout
until a clearer, weeping synth comes in. The track then moves slowly and somberly in a way that is very
peaceful. The nal moments of dosed on death demand you to reminisce on past memories.

The middle track, Orphan in the Woods, is a bit of a departure, but not drastically. The ominous tones
are still present, but this time they are being conveyed via a beautiful piano composition. The visual I got
from initially listening to this track was that I was sitting alone in the back of a large cathedral, and on
stage was an unknown man passionately hammering away at a piano. Id sit and watch this man;
astounded by the sounds he was creating. Orphan in the Woods is truly a beautiful piece, and I believe
it is a awless representation of what Sage is capable of artistically. A trend I notice on Selvmord is that
Sage likes to end each track with a signicantly different progression than what the majority of the track
possessed before. Orphan in the Woods ends on a rapid re of delightful sounds that closely resemble
harp plucks. Its a perfectly nice and quick change of pace.

Time Lapse brings us head rst into experimental, abstract, and atmospheric soundscapes. It almost
sounds as if it were recorded in a large eld. Theres a persistent bass that hums throughout the track
underneath the rattling of what sounds like metals and bells. The bass halts about halfway through, then
soothing wind gusts emerge along with a sound similar to book pages being quickly rustled through.
Elements as specic and distinctive as this are what make Sage one of a kind.

The next track, Suicide Forest, delves back into very dystopian sounds. Its like the score to a World War
3 lm. Theres sounds in this track that are eerily similar to a helicopter, and others that sound like a bomb
going off in the far distance. This track is a great representation of Sage ability to let moments breath.
Every sound has its place and there is never a moment of over saturation. Suicide Forest will make you
see, and feel everything differently when youre listening to it. Its minimal, but has strong effect.

Calm After Suicide, the nal track, plays out much more lighthearted than the rest of Selvmord. It
sincerely is a calming. The bright blips, and sedative ambience capture a mood of satisfaction and pure
content. A signature Sage piano composition comes in toward the halfway point and ties the bow up
neatly. This track simply puts a smile on my face and really makes me appreciate Sage diversity.

Selvmord carries a true darkness with it. Underneath that darkness though; is an authentic enlightenment.
The modern, minimalist, ambient style of Sage music is perplexing in the best sense of the word. It can
possess opposing sentiments in the very same moment. What may sound ominous on the surface is most
likely quite lively when further examined. Sage is a genuinely versatile artist, and at the young age of 16,
he has the luxury of time on his side to continue composing his exquisite music.

http://wakezine.com/album-review-selvmord-sage/
AN INTERVIEW WITH TOM ADAMS
In 1888 Fritdjof Nansen became the rst person to successfully lead a team of people across the
Greenland interior. During this expedition, Fridjof wrote about his fondness of the monumental landscapes
that he was encountering on the way. The sense of adventure and freedom in his writing really resonated
with me, says Tom Adams when discussing the inspiration behind the inception of his 40-minute modern
classical masterpiece, A Start On Such A Night Is Full Of Promise, from his project, The Mountaineering
Club Orchestra. Tom goes on to say, I was writing a lot of orchestral/electronic crossover music at the
time and combining this with Nansens story seemed to me a really natural thing to do. Its organic,
instinctive moments like these where Tom Adams nds his inspiration.

Tom Adams is a multi-instrumentalist composer, producer and songwriter based in the UK. He took piano
lessons growing up and began making music when he got his rst guitar at 15. Since then I have been
fairly constantly writing and recording tracks, he explains. His body of work is quite diverse, ranging from
textured soundscapes, to warm lo- folk, and all the way to experimental beat music. Tom Adams is a
genuine talent. When discussing his biggest inuences, Tom explains, I get a lot of inspiration from being
outdoors in beautiful places like mountains and beaches. Being outdoors has also served Tom well when
it comes to conquering a lack of inspiration. [I] get out of the house! he states, before going on to say
that a change of scenery is a huge productivity booster for him.

Tom carries small portable camera with him at all times. You never know when an idea might appear in
your head, he explains. When these ideas crop up, Tom will often take a short video and keep it for later.
He has hundreds of these videos on a hard drive. When watching them back, he rediscovers the sound
that was in his head at that very moment. The combination of the audio and the visuals lets that sound
present itself to him once again. Tom also brings with him his Baritone Ukelele whenever he goes
camping or hiking. When discussing this he said, Its not that Im trying to literally translate the shape of a
mountain or the colour of a sunset into music, its more that being there for me creates a feeling that I nd
I can best express with music.

When Tom Adams isnt busy making music, hes most likely working with his hands in some capacity. He
says hes a keen rock climber, and after moving to a place with no natural rock, hes now building a
bouldering wall in a barn nearby to compensate. Im increasingly trying to make things with my hands to
counteract the fact that I spend a lot of time in my studio using my computer to make music. The tactility
of music making is very important to him, so when making electronic music, Tom emphasizes the use of
hardware, because he can interact with the music directly. Computers are amazing and necessary for
producing music, but the problem I nd with them as a creative tool is that you are not physically making
anything, He says. This unique perspective ultimately illustrates Toms honest, and pure creative
process.

The absence of physical representations of music, like vinyl or CDs, is an issue that Tom is quite
passionate about. He believes music should be given more credit than just existing as a list of numbers
on a hard drive. When going to gigs recently, Tom noticed that some bands have albums you can buy
which are just a piece of card with a download code. This is really crap in my opinion, He states.
Downloads are great, but given how readily available music is online via sites like Spotify, Soundcloud
and Bandcamp, I think it is important to offer something physical that people can take away from a gig like
Vinyls, CDs and T shirts.

The future looks bright for Tom Adams. He recently released an EP called In The Constant Noise. Each
track was recorded outside very late at night using a small hand-held recorder. On every recorded layer
the sounds of wind, rustling leaves and other natural reverberations can be heard in the background. By
emphasizing and celebrating these imperfections, the idea of silence in a world where high noise levels
are the norm is explored. The result is a set of songs that, whilst each telling their own story, are unied in
a melancholic lament for the sounds that have been lost in the constant noise.

http://wakezine.com/interview-tom-adams/