Does Matt Robertson‘s name ring a bell? How about Björk and The Cinematic Orchestra? He worked as a musical director for them. Did synth work for Emilíana Torrini and The Prodigy, orchestrations for Bat For Lashes, bass and engineering for Lamb. He also worked on films like ‘Steve Jobs’ (2015), ‘Kick-Ass’ (2010) and ‘Quantum of Solace’ (2008). The versatile composer, synthesist and producer has a new album coming on 7th October entitled ‘In Echelon’ via London-based Tape Club Records. We are premiering ‘False Sense’, one of the most delicate pieces from the album.
Matt Robertson works with a huge collection of vintage, modern and DIY synths, and combines electronic music production with classical composition and cinematic soundscapes – no wonder that artists, producers and film composers alike seek his enveloping and distinct sound. With the new record, his time has come to take his well-deserved place in the spotlight.
Most of ‘In Echelon’ was made with very hands on instruments, using the computer like a tape recorder. He developed the ideas after putting together live shows with analogue sequencers and using some of these elements afterwards to create bigger structures. He feels inspired by the sound of really old synths, which vary very subtly over long periods of time. “For me its a perfect analogy to how we respond to things around us, things that change very slowly around us are often unperceived, and yet on some unconscious level we know that something has changed.” ‘False Sense’ also builds on this subtlety, it slowly floats and delicately changes between the sound of the piano and the soft pulsation of synths, slowly fading but never falling out of balance. Strongly cinematic, unavoidably melancholic.