nocturnal jazz-ambient · electric piano
In the lineage of Erik Satie · Claude Debussy · Ludovico's quiet school · Federico Mompou · Harold Budd
Put it on and forget it's there. That's the idea.
“Neon Latitude” began with one image of the city at night I couldn't put down — a small thing I kept circling.
The electric piano does the thinking here; I only choose what to keep.
That is all it wants to be.
Anyway. Enjoy, or don't.
The method is dull and I'm proud of it — a electric piano, a quiet room, the delete key.
I keep the mistakes that sound like weather and cut the ones that sound like mistakes.
In the lineage of Erik Satie, Claude Debussy, Ludovico's quiet school, if I'm honest.
I don't choose the city at night; it keeps choosing me.
The electric piano does the thinking here; I only choose what to keep.
Play it low. It was made low.
There is a single feeling under “Mercury Hours”: the city at night.
I kept the takes that sounded like weather and cut the rest.
It isn't a message — it's company for a particular hour.
Ambient work asks you to be patient in a world that isn't. That's a strange way to spend your twenties, thirties, whatever this is.
There's no roar of a crowd in nocturnal jazz-ambient; there's a person, somewhere, listening alone at midnight. I try to make it for them.
It's a quiet life. Mostly I'm grateful for it.
The urban night — neon on wet pavement, a Wurlitzer, the last metro home.
Officially: nocturnal jazz-ambient on electric piano. Unofficially: I found a corner of neon and never left.
There are a few records — “Neon Latitude”, “Mercury Hours” — which is more than I expected and fewer than my mother hoped.
Trained at the Guildhall School of Music and Drama in London — the theatre never entirely wore off.
Suggestion over statement.