Montreal based artist, Jeremie Jones, of Noordwiijk uses the progressive and experimental inclusion of a blend of acoustic and electronic sounds such as brass, gongs, chimes and bells that create a cinematic feel and paints an imaginative dreamscape ranging from the depths of earthly explorations to other-worldly escapades. This could easily be the soundtrack to a sci-fi, horror or independent film. According to the artist’s own interesting description it is an “imaginary soundtrack of a boy crossing the Atlantic Ocean on a ship in 1952”. Jones has also begun collaborating with abstract film artists such as Myriam Boucher and David Paul Ross which adds a fine art dimension to his work.
There are uncommon combinations of sounds and occasional animalistic noises such as growling, howling, squawking, chirping or hissing which creates a raw realistic element not often seen in electronic music. This makes it appear that he is directly pulling inspiration from the natural world around him. Jones is daring in his embracing of high pitched squeaks and shrills, especially at the end of “Schwarzwald trio part III”, that are usually considered non-musical or performing mistakes but are used in an effective stylized manner here. Not only is this album experimental in sound but it also explores the effects of recording in non-traditional spaces. Thick overlaying of ambient sounds and singing or humming combined with the acoustics of various spaces gives a technical complexity to these recordings. At times there is a mystical and meditative vibe such as in the beginning of “The Silence of the Sirens”, and at others a disturbing and unsettling feel such as found in “Eels”.
This is what I hope to find in a musical project such as this: the exploration of visionary realms and stimulation of sensory experiences through the use of sound. This is truly an interesting listen if you are looking for something that consistently tests the boundaries of contemporary music formalities.
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Check out some videos.