Loud Sounds 50
Cover photo: Envelope Muse
"Loud Sounds" are some of the best new tracks we've found. We are coming back with the 50th installment of the series.
Naylor – Here For You
Naylor is the moniker of multi-instrumentalist Peter Ibbetson, who previously toured with the likes of George Fitzgerald, Rosie Lowe and Nostalgia 77. His latest track, created in collaboration with XL Recordings in-house producer Joe Brown, is a nostalgic club jam that combines fierce dancefloor potential with a certain introspective quality found in modern after-rave classics from musicians like Bicep and Burial.
Naylor is the moniker of multi-instrumentalist Peter Ibbetson, who previously toured with the likes of George Fitzgerald, Rosie Lowe and Nostalgia 77. His latest track, created in collaboration with XL Recordings in-house producer Joe Brown, is a nostalgic club jam that combines fierce dancefloor potential with a certain introspective quality found in modern after-rave classics from musicians like Bicep and Burial.
Naylor
The process of making 'Here For You' began with Joe ( and I talking about the balance of using a soulful a cappella , coupled with a powerful, club ready sound. We listened to a bunch of early 90s rave tracks as well as newer things, notably Joy Orbison and Champion. This provided the starting point for the track which developed with breaks, live percussion and analog synth textures. We wanted to evoke a sense of being outside the club working your way in. The synth textures came about after conversations about Kid A era Radiohead, Brian Eno and more ambient records. These different elements were then pieced together to create 'Here For You'.
Also check out Naylor's earlier singles.
Envelope Muse – ascension in thirds - Part III
Envelope Muse started writing dark ambient, harsh noise and industrial in the early 2000s, armed with a 4 track recorder, a guitar, a mic and effects pedals. Surprisingly, he cites Prince and Bowie as huge early influences: "They did what they wanted, it was a pure expression of self and that resonated with me right up till now". Later he discovered artists like Einsturzende Neubauten, Throbbing Gristle and Cabaret Voltaire that "opened doorways into new thinking". The latest single from Envelope Muse is a track that manages to sound calming, epic and evil at the same time. The complex soundscape was built from experimentation with a short sample. Read on to learn about the process behind the composition.
Envelope Muse started writing dark ambient, harsh noise and industrial in the early 2000s, armed with a 4 track recorder, a guitar, a mic and effects pedals. Surprisingly, he cites Prince and Bowie as huge early influences: "They did what they wanted, it was a pure expression of self and that resonated with me right up till now". Later he discovered artists like Einsturzende Neubauten, Throbbing Gristle and Cabaret Voltaire that "opened doorways into new thinking". The latest single from Envelope Muse is a track that manages to sound calming, epic and evil at the same time. The complex soundscape was built from experimentation with a short sample. Read on to learn about the process behind the composition.
Envelope Muse
My way of working is completely organic, and as a noise artist whose work is 99% beatless, my ideas often come from images, film, dialogue, conversations. it usually stems from one idea that I feel like I can explore. However, Part III originally came from a 30 second sample and a mistake made in delay feedback. I don't often use audio samples, but using one 30 sec sample to create a 4-minute unrecognizable track with rhythm was a process that came naturally and I didn't need to think about and I'm an obsessive delay fan!
I love pushing equipment, software, sound, anything against its manufactured purpose. I'll spend hours creating sounds through different methods before I record, I will often take, let's say" the hook" in a track away, change paths creating more discordant tones that rub listeners the wrong way. Not a purposeful move but this is where EM lies. I tend to create moments rather than a structured piece. In my studio I used Logic and a mixture of plugins, field recordings and a heavily edited 30 sec sample to create ascension in thirds – Part III. In the last year I have moved from using Strymon effect pedals connected to my DAW as my main delay source to Valhalla plugins which are amazing and have now become an integral part of my process as they are so versatile and I used the plugin to create the "distant rhythm" in the track.
I love pushing equipment, software, sound, anything against its manufactured purpose. I'll spend hours creating sounds through different methods before I record, I will often take, let's say" the hook" in a track away, change paths creating more discordant tones that rub listeners the wrong way. Not a purposeful move but this is where EM lies. I tend to create moments rather than a structured piece. In my studio I used Logic and a mixture of plugins, field recordings and a heavily edited 30 sec sample to create ascension in thirds – Part III. In the last year I have moved from using Strymon effect pedals connected to my DAW as my main delay source to Valhalla plugins which are amazing and have now become an integral part of my process as they are so versatile and I used the plugin to create the "distant rhythm" in the track.
