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Frozen Light sparkles and glints with metallic tones and lush sonorous chimes delicately arranged across brooding ambient beds of sound. Recasting the sonic palette in a slightly different direction, softly shimmering cascades of electric guitar tones drift through the tranquil expanses of “Drone Chroma 1 ~ Violet” alongside tinkling percussion which adds sparkle to the piece’s otherwise cool streams.Īdmittedly Frozen Light doesn’t add anything significantly new to the ambient genre-it’s very much in the tradition established by Brian Eno decades ago - but it does offer as good a starting point as any to those wanting a good introduction to the style, and Thompson’s work as always exudes polish and refinement. A sound much like the soft snore of a lion sleeping persists throughout “Drone Chroma 4 ~ Gold” while tiny harp-like droplets and glassy tones extend across the track’s fourteen-minute running time. “Drone Chroma 3 ~ Magenta” follows with soft string synthesizer playing and percussive accents whose tinny quality suggests the inner strings of a piano being plucked. The recording opens with “Drone Chroma 2 ~ Azure,” fourteen minutes of tinkling meander, atmospheric electric piano colourations, and distant female vocalizing. Envisioned as an exercise in environmental “sonic tinting,” Frozen Light perpetuates the ambient dictum that a genre work should be both engaging enough to warrant and sustain attention while also be capable of blending subliminally into the background. Nearly seventy time-suspending minutes of glacial ambient mood music from Robert Scott Thompson packaged in four long-form pieces. Whether you’ve not yet encountered RST’s ambient work (I’d recommend Frontier, The Silent Shore, and Forgotten Places as introductions), or if you’re just picking up another album of RST’s, I predict this one will get regular play on your system.
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Chroma 1 (Violet) is even more “electronic-sounding,” yet resonant, with light percussive sounds. Chroma 4 (Gold) sounds much like two harps playing, over a diverse and subtle background. Chroma 3 (Magenta) is a bit darker, with soft strings, with more electronic sounds and some minor dissonance, along with various percussive tinkles and thuds (resembling John Cage’s “prepared piano,” in some instances).
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Far from it: RST’s music is pure ambient-diverse and interesting enough to be listened to with full attention, yet unobtrusive enough to be used as “background” to other activities.Ĭhroma 2 (Azure) opens the album, with soft and slow notes from an electric piano, ethereal vocal sounds, and even occasional “tings” from a cymbal this is my favorite track, and creates a definite “spacemusic” texture. (In other words, you can play the whole album, without affecting the basic “mood.”)Īlthough Robert Scott Thompson (RST) entitles the four pieces as “drones,” don’t imagine this as being one of those boring albums of a more-or-less uniform level of electronic noise (the kind that makes you wonder whether the sound is coming from your stereo, or whether you just left some appliance on).
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Frozen Light consists of four individual pieces, ranging from thirteen minutes, to twenty minutes in length however, although there are significant stylistic differences between the four pieces, their overall effect is quite consistent in mood and style.