Luke Abbott’s music has a sort of freeness, refusing to conform to any particular genre tropes or trappings, it weaves its own atmospheric path, much to the delight of a solid fan base accumulated from ten years worth of Border Community releases. 2011’s ‘Brazil’ is no exception, with its ambient phasing pads masking a deceptively fast tempo, clocking in at 165 BPM. (Indeed a more house/dancefloor-friendly ‘slow-version’ of 128 BPM was also released.)
The meandering pitch drift remains prominent throughout both mixes which serves to elongate and stretch out the chord progression, dragging itself along with a leisurely demeanor.
The effortless precision with which Luke manages to create such emotive soundscapes could have something to do with his degree in ‘Electro-acoustic Composition’ from the University of East Anglia, in his home city of Norwich, England. In 2012, Luke’s talent and artistic potential attracted the attention of the Wysing Arts Centre, where he was bestowed the honour of becoming their first ever ‘musician in residence’.
More recently Luke composed the original score for British film ‘The Goob’, releasing the work as his 2015 album ‘Music For A Flat Landscape’.
In this week’s DRC Sound Design Tutorial, we take a look at the bass and lead sounds from ‘Brazil’ by Luke Abbott.