When you're a composer/musician and your work is not easily defined, it can be difficult to classify in terms that are a good fit. Often, I have looked for terms like "ambient" or soundscapes" on partners like iTunes, only to be forced to use a term not of my own choosing. This is problematic on a number of levels, most crucially to fans of your music - after all, they aren't expecting to find your latest release under "new age" when your music is diametrical to artists like Enya or John Tesh.
Sometimes, the only term that comes closest to an accurate descriptor is "soundtrack." In actuality, that term isn't as erroneous as it might appear: many folks, from fans to fellow musicians, have often told me that tracks from "Moog Opus No.1" and "Rubaiyat" for example, sounded to them like background music for films. I can see their point - my music often creates a mood or atmosphere that would be simpatico to any director's motion picture.
Looking at compositions I have written over the past five years or so, I realized that many of them could not find a compatible place on my conceptual CDs, and yet, taken together, displayed a universal feel that was indeed, conceptual. Thus, "Film Cues And Ambience, Vol. 1." The album opens with the jazz-downtempo "After Hours Theme" - a perfect beginning, as it sets the mood for a film cue of a late-night, urban exterior shot: winding, neon-lit sidewalks, whizzing cabs and illuminated billboards.
Elsewhere, one finds everything from piano meditations (the somber, reflective "We Were Children Once") to orchestrated melodies (like the string section that opens "Cinema Concrete") to atmospheric "film cue" exercises ("Suburbia [Pt. 1]."
Taken as a whole, "Film Cues And Ambience" emerges as a true "soundtrack" album, and an evocative recording. So sit back, open a bottle of wine, lower the lights, and become immersed in my cinematic world.
New England - September 2012
Selections composed and arranged by: David Gerard
© 2010 -2012 Ambientunes, Ltd. (ASCAP) All rights reserved.
David Gerard: treated piano, ambient guitar, synthesis, bass, percussion, found noises and effects, ewi on "After Hours Theme"
Ted Drozdowski: guitar solo on "Suburbia [Pt. 1]" and "Suspended Under Canopy" - appears courtesy Vizz Tone Records
"Suburbia [Pt. 1]" for David Lynch
"Story In A Paragraph" for Pat Metheny
Recorded and mixed at Studio Ten, Lynn, MA and Loring Studios, Salem, MA
Equipment and gear: Fender guitar, Ibanez acoustic/electric guitar, Dean bass, M-Audio keyboard controllers, Ableton Live digital audio workstation, Nugen Audio ISL limiter & Stereoizer, Native Instruments Kore Player, Kontakt, Reaktor & Abysnth software instruments, Roland CD-X1 audio workstation, Macbook pro laptop computer, AKAI APC-20 console mixer
Special Thanks to friends and supporters: Philip Wyman, Ted Drozdowski, Mike Watt, John Scofield, Matt Glaser, Michelle Moon of Peabody/Essex Museum, Al Houghton, Jack Hertz, Dave Luxton, David Borden and Steve Drews, Kevin Braheny, Boreal Taiga, and Rusty Hodge of SomaFm
® 2012 New Franklin Records.