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Very Quiet Music To Be Played Very Loudly

Very Quiet Music To Be Played Very Loudly

To launch the new Lunar Module imprint from Castles In Space, Gordon Chapman-Fox presents us with an album of cinematic ambient music, stepping away from his usual analogue synthesizer tones.

ā€œI wanted to stretch my legs and create something more long form, organic and immersive than my Warrington-Runcorn personaā€ says Gordon. ā€œI hope the title speaks for itself. This is ambient music, but it's not background music. This is very much for the foreground. To be played loudly and to lose yourself in this world of sound.ā€ The four tracks on offer present a different side to Gordon’s skills, the tracks are stripped of the usual soaring melodies and arpeggios of Warrington-Runcorn, but maintain the oppressive melancholy through tones and textures. ā€œThere’s quite substantial use of orchestral sound libraries on thisā€ says Gordon. ā€œI wanted to hear the sound of a bow scraping across a cello or the breath of a choir. Not having either an orchestra or choir to hand, sample libraries had to fill the gap.ā€

$10.75

Original: $30.72

-65%
Very Quiet Music To Be Played Very Loudly—

$30.72

$10.75

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To launch the new Lunar Module imprint from Castles In Space, Gordon Chapman-Fox presents us with an album of cinematic ambient music, stepping away from his usual analogue synthesizer tones.

ā€œI wanted to stretch my legs and create something more long form, organic and immersive than my Warrington-Runcorn personaā€ says Gordon. ā€œI hope the title speaks for itself. This is ambient music, but it's not background music. This is very much for the foreground. To be played loudly and to lose yourself in this world of sound.ā€ The four tracks on offer present a different side to Gordon’s skills, the tracks are stripped of the usual soaring melodies and arpeggios of Warrington-Runcorn, but maintain the oppressive melancholy through tones and textures. ā€œThere’s quite substantial use of orchestral sound libraries on thisā€ says Gordon. ā€œI wanted to hear the sound of a bow scraping across a cello or the breath of a choir. Not having either an orchestra or choir to hand, sample libraries had to fill the gap.ā€