The “Big Big Disgrace” video is out now on Channel U (number 023).
“The album’s widescreen blues is reminiscent of Massive Attack…One of the most evocative albums you’re likely to hear this year!”
Metro (4/5 stars)
“Taking the templates of the likes of Groove Armada and Thievery Corporation, then re-inventing them as his own, adding classical and world music alongside more contemporary influences. Acquire.”
DMC Update (5/5 stars)
“A soundclash of downtempo beats with cinematic strings segueing together with surprising ease in a seamless mix.”
Hi-Fi Choice (4/5 stars)
“Stuns on first listen. A globally in touch moment of bliss that will enhance what ever state of consciousness you’re in right now.”
DJ Magazine (4.5/5 stars)
To some people, downtempo equates to background music and fusion sounds contrived. Neither is the case with downtempo composer / producer Glideascope (pronounced Glide: a’ scope). Glideascope’s music is a credible and incredible hybrid of classical, dub and world influences which does not allow it to be pigeon-holed. According to Glideascope, “It is simply music breaking down the barriers. With the world becoming smaller, isn’t it natural to be influenced by everything you hear?”
Glideascope’s upcoming debut album “Audio Cinematography” features emotive electronica, live orchestral strings, world music landscapes and inspiration from classical composers fused with contemporary beats whilst plunging into the dub reggae of old. Glideascope reveals: “I wanted to create an album that both represented my musical heritage and extensive travels across the globe – an experimental journey fusing classical orchestration, reggae, the roots of hip hop together with African and Indian folk music, creating a composite of live acoustic and electronic textures.” Whilst completing the mastering session at Abbey Road Studios in London, the late chief mastering engineer Chris Blair described Glideascope’s music as, “the most interesting music I have heard in a good while, with a recording quality, depth, and production brilliance that deserves cult status.”
The album’s title suggests an audio-visual aspect to his music, giving “Audio Cinematography” its unique sense of purpose. Glideascope states: “It definitely is a cinematic album; when I’m composing I think in terms of moving images creating a canvas that people can fill with their own pictures and emotions. I love movie soundtracks such as ’28 Days Later’, ‘The Bone Collector’ and ‘Crouching Tiger, Hidden Dragon’ and these influences are apparent in my work; I often describe my music as ‘a soundtrack to a movie never made’.”
Glideascope has no formal classical training, but this did not prevent him working with the Prague Philharmonic Orchestra who are featured on “Big Big Disgrace”, the first single to be taken from the album (also featuring vocals by MC Junior Ruff and Hannah Cleone). Glide says: “I don’t believe you need a classical background to create classical music; just a keen ear and a willingness to study the art of orchestration. Working with the Prague Philharmonic was an amazing opportunity, and I am looking forward to more collaboration.”
In marked contrast to a number of electronic artists, Glideascope also delivers innovative live performances which incorporate improvised laptop sets – “a laptop symphony” – strong percussive elements, live cinematic strings, stunning vocals and impressive visuals. He has mesmerised audiences at venues such as Cargo, Ministry of Sound and Pacha in Ibiza, as well as the Buzz Bands 2006 Showcase at this year’s MIDEM music conference.