Most people build songs based on solidity – riffs, defined chord progressions, choruses, verses – you know all the stuff that has been tried and tested over many years by thousands of artists through millions of songs. But doesn’t that just mean that it’s time for a change? I’m not saying that Nick is the first person to visit these musical peripheries but he is certainly one of a very select gang of sonic explorers who from the 80’s onwards grabbed the emerging and increasingly affordable technology and used it to unlock and create whole new worlds.
Ghostdream is concerned with textures not structures, transcendent noise rather than conventional deliveries, moods rather than hooks. It blends strange space noises and clinical beats with sonorous washes, pulsing synths and robotic vocals. This first track off the forth coming album Sleep Safari is coupled with another strange and exploratory piece, making this what we used to call a double A side, though I guess new terms are needed.
The Otherside 2 follows a similarly ethereal path, playing with disjointed atmospherics before committing to a regular beat upon which to hang and order its musical ideas.
With lyrics often relegated to the role of another instrument rather than a focal point, the music paints pictures and suggests scenes and scenarios that are limited only by the listener’s imagination, irrespective of the composer’s intentions; you are the interpreter here, this is your dream. In just one listen I saw galaxies dying and being reborn, ancient city streets, I viewed the world from the top of mountains and I swam in its deepest oceans. All that and I hadn’t even had lunch yet.
Some bands like to think they are pushing boundaries but they are really just doing the equivalent of knocking the two downstairs rooms into one. Nick’s music is so transient that it seems to float through solid structures at an atomic level out into a wider, unbounded, barrier free universe. That’s how you deal with musical conventions.