Lexicon of Sound review & interview
As I was trying to listen to hypnagogia by Dublin’s Lexicon of Sound it struck me how revolutionary it is to be making ambient music these days. This is an album that has to be listened to without distractions, preferably on your own, on reasonable speakers and in a comfortable room. Not as I at first impatiently tried to do in the car rushing to work, changing back and forth to the latest news on Morning Ireland while skipping around the CD. Also, sadly for me not on the LOS Bandcamp page either as this entailed computer speakers and other pages open on my browser to pull my attention away. The world we live in is fast and we need to do a lot to keep up, to switch off (something I normally do in nature) is essential of course and this album offers you that chance too if you give it the time and respect it deserves.
hypnagogia is actually Colm Fitzpatrick's fifth album since he began to use this as a moniker in 2018. I've interviewed him below and I'm so glad I contacted him directly as I needed to get a sense of who the person is behind this very pure music. I had come across his music before but really this was just his bass playing in The Sewing Room. In fact I wrote a piece about them for AA here. I kind of knew he had been in Hey Paulette in the 1980s but this was really before my time. He has also been involved with Villa R and I Am The Waltons, two bands I'm actually not familiar with.
It seems like Lexicon of Sound is the music he has wanted to make his whole life and I'm very glad he has reached that goal. I want to incorporate a review into this piece so bear with me until you get to his own words (be sure to play the track from it above).
Hypnagogia is the transitional state of consciousness between wakefulness and sleep which we are all familiar with, even though we might not know the term for it. One of my favourite acts Dopplereffekt have already used this as a release title so I did have an idea what the concept for the album might be. This in-between state very much makes sense (to me) on the brief opening 'The Omadon', which skews our musical expectations with its disjointed medley (from everyday life?) but reality is already behind us as 'Calling Mumba Devi' quickly envelopes us in its lush sound and we hear what might be a confused Japanese man on some kind of internal answering machine. 'Doctor Mesmer' brings us even further away from wakefulness, somewhere deep in space with tinges of Brian Eno, which is a great thing to have tinges of. A long time ago I read a book The Wizard from Vienna (1975) all about Dr. Mesmer and the hypnotic state he could put his patients in. I don't believe he was a charlatan, he just cured his patients the only way he knew how and came up with a theory that was false.
By the time we reach the title track (the biggie at over 10 mins) it’s feeling much more oceanic and long enough to truly get lost in. 'All At Sea' might be my favourite track with it’s more optimistic rising tones. These long sustained notes hover eternally, this is the sound of forever. ‘Saint Agatha's Bells' is the only one for me that could pass as New Age but so what, play it when you next do some yoga and it will work a treat. It’s those damn Tibetan bowls, very hard to hear without thinking of a YouTube meditation video. 'Abdul's Android' is probably my second favourite and has an electronic Eastern sheen to it that sounds so modern. In a parallel universe or maybe even this one, it could be the theme tune to a future Bladerunner. 'Dark Paradise' is some kind of sinister step carefully moment just before you wake and another potentially good movie scene soundtrack. 'Exit 13' and we are almost out, a return to the confused Japanese man as guitar textures enter for the first time and it's a very beautiful thing indeed. Definitely an album for me to return to.
Where does your interest in ambient music come from?
It started in the early nineties when I was in my mid 20s. I have a terrible memory, but for some reason I have a good recollection of this. Hey Paulette had broken up a few years previously, and I was by that time playing with “I Am The Waltons” a grungy, loud alternative pop band. The singer in the band, Aiden, told me one of his favourite artists that he was listening to at the time was Harold Budd, who I had never heard of. He said I should check him out. I'm not sure how he figured I would like Harold’s music but he was right, I loved it. So it kind of grew from there. I started collecting Harold Budd’s albums and through his collaborations I discovered Brian Eno and started collecting his albums, you will see a pattern emerging here ! I moved on to Steve Roach, Tom Heasley (Ambient Trombone !) Wendy Carlos and John Foxx amongst others. So I've been listening to that kind of music for close to 30 years I guess.
Do you miss writing in a more collaborative song based form as you did in Hey Paulette and The Sewing Room, which do you prefer?
No, I much prefer working alone. I have come to realise this over the years. When I was playing in bands all those years ago, I never thought of myself as a songwriter, and I never thought I would ever become one. The way it worked in all the bands I played in, was that the guitarist and the singer would write the songs, the rest of us (Drums, Bass, other guitarists etc) would add our piece to it, that's it. If it worked out and we all liked it we would keep it. On a rare occasion some songs would come to fruition from jamming, but it was rarely a productive way of songwriting for any of the bands I was in. Two notable exceptions to this were Drugfree from The Sewing Room, and also Fear of Parked Cars from I Am The Waltons, I remember these tracks being a true group effort.
You are already up to release number nine of LOS. Instrumental music can be tricky to edit and differentiate tracks from each other and have each album stand out.
I can get a bit defensive when people say I have released so much music in such a short time. Maybe I'm being a bit paranoid but I start thinking people are saying to themselves “It can’t be much good, he has released all this music in about one year !” and I worry that maybe they won’t take it seriously. But I'm very serious about my music. I'm usually a bit tongue in cheek about it when I talk about it on Facebook or Twitter, which does not help but that's just my personality I think. I guess this is a good opportunity to explain how I got to record and release so much music in apparently so little time. In 2017 I decided to convert my little attic in my house into a place to store my basses and gear etc. In this small house, there are myself, my wife Bernie and our son Joseph and all his toys, so space is at a premium ! By the start of 2018 I had the attic looking really good, Velux window in, wooden floor down, carpeted walls, mood lighting, nice laptop for recording, and the obligatory Persian rug. I said to myself this is a really cool little space where I can have all my gear set up permanently.
In parallel to all this going on I knew I wanted to start writing and recording music again, I had been away from it for decades and I had a lot of ideas built up inside that I wanted to express, and building the studio only affirmed these feelings. Also going on at this time was the fact that I had taken a break from full time work, an opportunity came along and I grabbed it, it meant I had more free time on my hands. The fact that I had all my gear permanently set up now and I could escape to my little studio at any time I wanted, day or night was a real boon. All these events coming together let me be super productive and do it all at home for free. The kind of music I make lends itself to this kind of home setup, no drum kits, PA, or amps needed ! So from the Spring of 2018 I started working, and I found the ideas and sounds just flooded out, it was a great feeling. As I went along I learned more about the recording process and refined my workflow. Month by month I would buy more outboard gear, keyboards, guitars, effects etc to add to my arsenal of sound making equipment. It was in the summer of 2020 that I decided to put all I had done up to that time up on all the streaming platforms. My Nephew Daniel is a musician and he told me about Distrokid. It was a cheap, painless, easy way to get my music up on all the streaming platforms, so I went ahead and released the first 6 albums around June and July of 2020 I think. That was 2 years of solid work. I have done 1 Album and 2 EP’s since then over the last year. Lockdown has also helped in that regard.
What are you working from as a starting point with your albums/musical pieces, the sound itself or an idea? How do you know when you have strayed into 'New Age' territory or does that bother you?
It depends, sometimes I start with a word or phrase, sometimes an image, and sometimes a scenario. I think it's important to have some kind of a seed of an idea in your head before you start something new, otherwise you're wasting your time and you will flounder. I think to myself, what would this situation or place or feeling sound like ? Some of my albums are obviously thematic. Longwave came about because of my love of radio, especially AM radio. My eldest sisters used to tune in to Radio Luxembourg on a Grundig portable in the 1970s on a Friday or Saturday night while they were getting ready to go out. I remember it vividly. Later in the 80s and 90s it was my turn to tune in to BBC1 and John Peel via AM to listen to him playing Hey Paulette or The Sewing Room. The Lighthouse is another obviously thematic album stemming from my love of the sea and er…. Lighthouses ! I've always loved them and find them to be spiritual and magical places for me. If someone wants to call it New Age I don't care, I'm just happy they are listening to it.
Do you have plans to take Lexicon of Sound onto the live stage in the future?
This is a short answer, and that is no. I don't think ambient music or musical soundscapes translate well into the live environment. People will talk, go to the bar, make noise etc, it just would not work for me. I want people to hear my music in the best possible scenario, sitting down, listening to it on a CD, on a good pair of headphones. I suffer quite badly with anxiety also, so if I was to perform live any venue I would go to would not have enough toilet paper in stock to cope with my situation.
What are you using to generate your sounds, are there guitars in there?
I try to make my sounds sound original and made from scratch, no sound I record is off the shelf. Yes, I have recently started using guitars, although I am by no means a guitarist. That is an area I have yet to venture into fully. I have 2 old 80s keyboards specifically chosen for their ease of use and the fact they also offer full control of the sound wave generated, all with real time control in the form of knobs and sliders, no scrolling through menus etc. For me, it needs to be simple and fast. The same goes for effects, I use high quality guitar pedals that offer studio quality sound but the interface needs to be fully manual, again knobs and sliders all the way, and the pedal is a perfect format for that. I have other sound generating tools in software format where you can quite radically alter any given sound or sample. I also have some other rather unusual sound generators in hardware form that are quite unique, which I have collected from boutique makers over recent years. Then I have my bass guitars of course which I rarely use actually, with the exception of tracks like Dark Paradise and Exit 13 where they are heavily effected but are the main instrument in the track.
How important is the physical format for music? What made you decide to release all LOS albums as CDs.
The physical format is vital for me. An album is not released unless it's on CD or Vinyl as far as I'm concerned. I need to hold a physical object in my hand, and be able to look at it, keep it, and collect them.
What is next in the series/pipeline?
Next for me is a break from writing and recording to curate and promote my music. I will be releasing all albums and EP’s on CD over the next 18 months on my own label, Lighthouse Records, so that's an ongoing thing starting with this album (hypnagogia) I need to start promoting my music, getting more airplay, getting more album reviews and Interviews like this I guess. It's the one thing I have neglected up until now. I find myself looking abroad more often than not in that regard. I have always found the Irish music scene on the whole to be a bit incestuous, clicky and small to be brutally honest. I'm in the process of drawing up various kinds of lists of people and media outlets, radio stations etc around the world to send my music to. All of that is going to keep me very busy for a while. Then maybe next year, I'll start venturing up into my tiny attic studio again, and try to make some new sounds and paint a few more sonic landscapes that hopefully some people will enjoy.
You can sample and order Lexicon of Sound’s latest releases hypnagogia and Edge of the World EP and more on Bandcamp. Until 2022 he will gradually be releasing all of the LOS albums and EPs on CD on his own Lighthouse Records. Follow him on Twitter here.