Pimmon-The Oansome Orbit



Slow bowed string drones, staccato picking and the sounds of water, air, and the comings and goings of life bring  “The Oansome Orbit” by Pimmon into the room from the silence that preceded these sounds.

I’m told that this album is inspired by Russell Hoban and Tony Barrell, two names that mean nothing to me, although I know they mean a great deal to Paul Gough, the artist behind the album who has been releasing music for the last 15 years. The fact that I have never heard of his influences doesn’t make any difference to my enjoyment of the music itself. The subtle yet incredibly well textured and interesting opener “Passing, never to be Held” gives itself over to the second piece “Archangel in reverse”, much more chaotic in tone and form but retaining some of the warmth of the first track. This is intricate music, compiled by a master at work, experienced in his field but approaching sound with the innovation of one in love with the sounds he uses, and the bravery to play with sound to create something other.

Next up is “Yicco” with it’s sine waves intro, and then another return to warmth with panning pads and tones colliding and moving around my head, alien sounds, completely removed from their original context, whatever that may have been. When something is referred to as cinematic in music these days I tend to cringe but this is cinematic music and truly deserves that phrase beyond talk of soundtrack to films that have never and should never be made. The title track “The Oansome Orbit” is possibly my favourite track here, tones move in on each other, crash into one another, dissolve, emerge, fade, re-emerge, play with each other, it’s dense, enveloping, all consuming, at least if listened to at the right volume.

“Holding, never to be passed” reminds me of Blade runner, maybe we are in the realm of cinematic music that should have been in a film, if time is an abstract concept then this could indeed be part of that soundtrack, the closing scene,  role credits, dissolve.

“Düülbludgers” takes us into darker territory, laser beams and cavernous metal voids, all with high frequency feedback and bells tolling, apocalyptic environmental disaster come down music.

“Bright light resist me” closes the album, with the sound of wind instruments buffering against the warm tones so prevalent throughout “The Oansome Orbit”. Slowly these sounds begin to move away, they ebb and flow, then retreat completely like a tide going out, until next time  

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