Window Gazer stares out at a world cuddled by blue skies and rich in its open-ended diversity, a world that is all the better (and healthier) for its many multinational and multicultural connections. Europe, take note. Sadly, this minuscule blue orb is home to many a concrete jungle where dead-ends and lost hope are written as names for streets and avenues. They’re surrounded by a very different looking skyline, but while the music’s playing we can but dream. We can escape.
Holographic Field works this flowery optimism into his music. Berlin based pianist, composer and producer Jonas Meyer incorporates a little taste of modern classical music, and within the ambient foliage metallic scraps made out of harder electronic elements find their shelter. The opening strings are gradually bent out of shape, almost as if they’ve been left to dangle on the end of a killer’s hook, but this isn’t dark ambient music. If you look past that, a very pretty album comes into focus. Natural chimes that clink together in the face of the wind are obscured by a steady, dull beat, reliable in its consistency. A throbbing layer made out of a quiet synth hangs around, and deeper textures not unlike those found in ambient-dub music work their way to the surface. Repeating, high-pitched notes light the music up, like evening illuminations strung together along the front of a promenade. Sung cries call out from somewhere, but their precise location’s lost to the rainy drizzle of reverb. A floating drone looks for her, but in the midst of the downpour her voice comes and goes, and before you know it the music has disappeared.
The stuttering beats of “Between Sphere” send the music a little off-balance. Something’s not quite right, like the too-bright glow of a Coke machine in the midnight hour. Out of the blue, the reassuringly cool touch of a piano comes to the aid of the beat. It nurses the music and takes good care of its rabid patient, before it too succumbs to a deadly virus. The jazz-inflected notes stutter and splutter as they start to disintegrate. Sitting beside the skittering beat and the steady thump of a bass, the piano starts to loop, as if it were in the middle of a bad spell of déjà vu. Rain cools the beat, washing and wiping it away until all traces of it vanish from the frail CPU of human memory. Uplifting electronic sequences clear the little fluffy clouds, revealing pink ambient skies as the day fades away. “Afterglow” is the sound of a golden sunset, and it is at this point that the ambient tones break free, racing against the sun as it goes down. “Afterglow” is a pretty ambient tune that sheds its skin and renews itself; perhaps it even evolves. At the end of the day, and after all it has experienced, it’s ready to level up. Meyer gently blends everything together, gazing at the complete picture and not just out of a corner of the window. (James Catchpole)