Robert Scott Thompson
(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )

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Georgia-based composer Robert Scott Thompson started out in the field of computer music with recordings such as Deeper In The Dreamtime (Acourant, 1991) and the nine-movement concrete symphony The Strong Eye (Acourant, 1992), which also employs acoustic instruments. Shadow Gazing (Acourant, 1994) collects works composed between 1986 and 1994. He progressively opened up to popular music with Ginnungagap (Acourant, 1993), that increased the doses of acoustic instruments, electronics and samplers, and Air Friction (Acourant, 1995).

Another Sky (Acourant), split with Nikitas Demos, collects his chamber music.

The Silent Shore (Mirage, 1996) began his "ambient" phase, which continued on Frontier (Mirage, 1998) and on the monolithic suite Music for A Summer Evening (Acourant, 1997). Aether (Acourant, 1998) marked a further reduction in ambitions with a sort of light synth-pop.

Siren (1999) is a lengthy ambient piece based on the female voice. The Vivid Air (2000) contains four electroacoustic compositions from 1998-99. Forgotten Places (Zero Music, 2001) is a collaboration with James Johnson.

Manifold (2001) is made of "three compact discs of collected sounds playing asynchronously." Siren, Music for a Summer Evening and Sapphire (1998) were later assembled in the box-set Musique d'Ameublement: Volume One.

His computer music is collected on Amorphia (2000), that reissues pieces from 1995, on the double-disc Acousma (EMF, 2001), that contains 12 works composed between 1996 and 2001, and on Sanctum (Lens, 2007).

Among the compositions collected on Acousma (EMF, 2001) the 19-minute Oneiromancy (2001) creates suspense via a juxtaposition of drones, silence and chaos (notably the ending "choir"), the 15-minute Elemental Folklore (1996) emphasizes sparse tones in vast expanses of inaction, The Widening Gyre (1998) assembles ghostly sounds of plucked strings and unleashes a maelstrom of evil vibrations, the tidal waves of Light is a Liquid (1999) evoke something in between a wind lifting dead leaves and rush-hour traffic in a metropolis, The Gramophone (1999) dabbles in manipulated voices, the 20-minute Fog Index (1997) is (unusually for him) a varied and multidimensional collage absorbing voice, instruments and natural sounds, the 13-minute The Ninth Wave (2001) ihas a central section of floating choirs actually created by processing the cellos that provide confuse notes at the beginning and at the end, the 20-minute Acouasm (2001) has a plaintive quality derived from the wailing phrases of the beginning, the tinkling metallic sounds that dominate the central section and the return of the wailing phrases at the end, although now reduced to ethereal drones.

Sidereal (Spaceformusic, 2002) was designed with computers, synths, samplers and guitars.

Ambient releases include: Blue Day (2000), The Still Point of the Turning World (Hypnos, 2005), Frozen Light (Lens, 2008), containing four lengthy pieces.

Poesis Athesis (Lens, 2008) was conceived as a video soundtrack.

The deluge of releases continued with: Motets for Michelangelo (2009), Gold Flowers Bloom Mercury Petals (2009), Mantra (2009), Zuvuya - Circle of Life (2009), etc.

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(Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso )
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