“SIGNALS FOR SIGNS” is a hard cut to horns heralding and welcoming the euphoria of the new.
“The music invokes the sound of a union, not unlike a marriage ceremony. It unabashedly reaches toward the beautiful while grounding and holding us in a low-end hug.”
So says Sam Genovese of his new and deeply wrapping ambient single drop, “Signals For Signs”, which you can glide into below. It does indeed begin in the announcing tonality of horns, before running like a river into ripples of other unfolding tones, drones, warm analogue synth always offset against higher, more piercing tones, seeking like a searchlight, burrowing into your hearing. It’s ambient, but it has a cut-glass edge; you would run blood-red if you approached too close.
It’s taken from Sam’s seventh full-length record, SKYMYTH, which will be out digitally in late April.
Sam takes a live of the scoring for European and experimental cinema and brings that passion into his synthesiser world; witness last year’s electronic opera and film, Entanglementing. A few years back now, 2014’s Night Path was influenced by the long take of cinematic auteurs Bela Tarr and Andrei Tarkovsky. SKYMYTH, in turn, is conceptualised around a ceremony of the ancients and begins at the foot of a holy mountain. Priestesses gather to ascend a peak, which the album soundtracks. “Signals For Signs” is the fourth passage of five; the moments before the final ceremony.
Sam composed SKYMYTH engaged with his bank of software and synthesisers, allowing some to run freely, producing their own sonic architecture; you’re invited to dive in, bring your own worldview or personally-built theology or narrative to the record, allow it to recombine and become your own journey.
Sam Genovese’s SKYMYTH will be released digitally on April 23rd; you can pre-save your copy now at Bandcamp.