Search Results for:

BEN LUKAS BOYSEN

Ben Lukas Boysen

Mirage

    Berlin based composer and producer Ben Lukas Boysen returns with his most progressive and shape-shifting work to date, the long awaited Mirage, on 1 May 2020 with Erased Tapes. The third album to be penned under his own name proceeding his Hecq moniker, Mirage follows 2013’s Gravity and the acclaimed 2016 full length Spells, a record as much admired by his peers as it was loved by fans that not only yielded remixes from Max Cooper and Tim Hecker, but also opened Jon Hopkins’ Late Night Tales compilation.

    Since the release of Spells, Ben continued to be in demand for his scoring abilities, collaborating with cellist and composer Sebastian Plano on the music for David OReilly’s landmark innovative video game Everything. It was added to the long list for the Best Animated Short at the 90th Academy Awards, making it the first video game to qualify for an Oscar. In 2019 Ben contributed to the Brainwaves project alongside fellow Erased Tapes artists Michael Price and Högni Egilsson in collaboration with a team of scientists at Goldsmiths University, London — linking states of consciousness and music. He also scored the soundtrack to the DAFF award-winning German TV show Beat, the feature film The Collini Case, and co-composed the music for the short film Manifesto with Nils Frahm, starring Cate Blanchett.

    As with Gravity and Spells, Ben has an array of musical guests adorning Mirage, including long time collaborator, Berlin based cellist and composer Anne Müller as well as Australian saxophonist and composer Daniel Thorne — for whom Ben wrote parts specifically, having heard his 2019 solo debut Lines of Sight. Lead track Medela features both and takes the listener on a kaleidoscopic journey that slides with ease across sonic terrains. By the end it’s difficult to tell what exactly was heard; “I wanted to experiment with blending these recordings with 100% artificial elements, often to points where an instrument becomes an abstraction of what it was and the musicians’ presence in the song is much more of an important DNA string in the song rather than an obvious layer.”

    Mirage, like its title suggests, feels like a sonic optical illusion — each piece containing sounds and techniques bent and processed to make them seem overexposed; the overly felt-y piano on Clarion, Daniel Thorne’s saxophone on Medela, the single note voice of Lisa Morgenstern splitting into different chords on Empyrean. It is detectable but also easily missed, like the double piano on Kenotaph that could be perceived as one, but is actually two pianos in two different rooms, separate countries even — one is digital while the other is acoustic.

    While on Spells Ben made programmed pieces sound indistinguishable from human playing, with Mirage he set out to do the opposite and make the human touch unrecognisable, creating something of a mystery or a mirage.

    Ben Lukas Boysen & Sebastian Plano

    Everything

    Enter the all-encompassing universe of Everything, a score by Ben Lukas Boysen and Sebastian Plano. Game creator David OReilly has built an interactive world for you to explore at your choosing. Whether you decide to take the role of a microbe inside a plant in the desert, or a star in the furthermost galaxy, each layer of the game is coated with ambience which takes the simulation even further into the limitless boundaries of each world. Composers Ben Lukas Boysen and Sebastian Plano have shaped this experience with their intricate 4-hour soundscape, alongside the continuous narration by philosopher Alan Watts. Words from Ben and Sebastian, April 2017:

    “Composing something quite modular yet coherent that connects with the idea and fabric of the game was quite a task. We discussed many approaches, from really mathematical and direct, to abstract and philosophical, and we ended up with a mixture of both. Every element depends and builds on another and connects to previous and following songs. May it be on a compositional or on an abstract and conceptual level, the game and the music follow the same path and shares almost the same inspirational DNA.“ — Ben Lukas Boysen "Working on the soundtrack has been a truly inspiring collaboration. What fascinates me about the game is the self-exploratory approach it allows the player to experience; there is no purpose other than just being. This concept gave us wonderful freedom in searching for sounds and ideas that would fit the game.

    Throughout the score there is a subtle level of drama which gives depth to the game, yet the music never becomes predominant taking the player away from the main experience of being anything. Honest, simple and beautiful, Everything has been a rewarding creative journey to contribute to." — Sebastian Plano Though the score has an important part to play in heightening the atmosphere of the game, it has the capability of being a standalone album – carefully sequenced down to a 10-track selection by label founder Robert Raths. There is a considerably therapeutic quality about it, allowing the audience to transcend into a meditative state, which is what makes it a perfect partner for Everything. The music is a whole world of its own, yet part of the game’s universe.

    TRACK LISTING

    1. Opening
    2. We?re Here
    3. Winding And Unwinding
    4. Eisenach
    5. An Infinite Day
    6. Opening Light
    7. Aalystice
    8. Inside Air
    9. After Our Efforts
    10. Reaching Light

    Ben Lukas Boysen

    Golden Times 1

      Electronic producer Max Cooper and ambient master Tim Hecker rework Ben Lukas Boysen on his new EP Golden Times 1 – out on Erased Tapes, June 30th 2017.

      Championed by many including BBC Radio DJ Mary Anne Hobbs as the standout track from his most recent album Spells, Boysen’s Golden Times 1 forms the very heart of his new EP with the same name. Boysen entrusted none other than Max Cooper and Tim Hecker to meticulously shape and lure the title track plus second single Nocturne 4 into two entirely separate territories, yet never drifting too far away from their original soundscapes. With Evensong the composer himself contributes a previously unreleased piece. It is yet another example that Boysen is still opening new and unexplored doors in a bid to challenge the existing realm of contemporary music he is very much a part of.

      Ben Lukas Boysen

      Gravity

        In celebration of their latest signing, Erased Tapes re-issue Ben Lukas Boysen’s compelling debut album ‘Gravity’, alongside new album ‘Spells’. ‘Gravity’ was the first album Ben recorded under his own name, merging programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation.

        From ‘Only In The Dark’ to the two movements of ‘Nocturne’, it’s a serious, solemn listen. And yet, with pieces like ‘To The Hills’ and ‘Eos’, ‘Gravity’ is an exploration of heights, cliffs and vertigoes. With piano lines and choir-like drones, this record suits its title in all its meanings, as the magnetic force takes us deeper towards the core. Marking a new beginning, this debut reveals a touching, and more melodic side to Ben’s body of work, which he previously only hinted at as HECQ.

        Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered the album. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”.

        His intricate, humanised programming – enhanced by drummer Achim Färber, additional synthesisers played by Nils, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Gravity’ as well as its successor ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths. Linking the two albums are the four movements of ‘Nocturne’, an ever-developing conversation that on occasion flirts with the grandeur of compressed rock drums. As HECQ Ben has released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

        After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.

        Ben Lukas Boysen

        Spells

          ‘Spells’ merges programmed piano pieces with live instruments, combining the controllable technical world and the often unpredictable aspects of live improvisation. In some ways it continues where his underground debut ‘Gravity’ left off, though a lot of weight is lifted, making room for a lighter and more energetic listen. Friend and fellow Erased Tapes artist Nils Frahm mixed and mastered both albums. Ben is not a master pianist like his dear friend, but his sound collages are so meticulously designed that after hearing the result an impressed Nils declared: “from now on, if anyone asks – this is a real piano”. His intricate, humanised programming – enhanced by drummer Achim Färber, cellist Anton Peisakhov and harpist Lara Somogyi, and a considerate selection of echoes, delays and compressors – has been used to create a hybrid sound that intends to deceive, question and challenge existing listening habits. Utilising the contrast between reduction and decoration, ‘Spells’ can be seen as a quest to find out how much or how little composition is required to constitute a song. Why the ear can and should be deceived about the authenticity of instruments. What significance these instruments have within this process, and why the personal perception of balance and sound exclude ultimate truths.

          Linking the two albums are the four movements of ‘Nocturne’, an everdeveloping conversation that on occasion flirts with the grandeur of compressed rock drums. The first single, ‘Golden Times 1’, received a world premiere by BBC 6 Music’s Mary Anne Hobbs, proclaiming it as "incredible." An alternative version of ‘Sleepers Beat Theme’ – composed for the soundtrack to a short film about the Trans-Siberian Express – opened Jon Hopkins’ Late Night Tales album from 2015, who noted “I thought it was such a calming and sensitive piece that sounded to me like the beginning of something...the warmth and depth of the sound entrances me every time”.

          Though ‘Spells’ and ‘Gravity’ are his first albums recorded under his own name, as acclaimed electronic producer HECQ he’s released nine albums since 2003, exploring everything from ambient to breakcore. He has simultaneously established himself as a trusted composer and sound designer, working for a wide array of clients including Amnesty International and Marvel Comics; composing for feature films, games, art installations and convention opening titles.

          After embracing this demanding line of work, in 2010 Ben felt the need to explore his roots and early education, which inspired these albums under his own name. Born in 1981 as the third child of opera singer Deirdre Boysen and actor Claus Boysen, his classical music training on piano and guitar began when he was seven years old; the works of Bruckner, Wagner and Bach laid an important foundation. Rediscovering this music shared with his parents – united with the sounds of Autechre, Cristian Vogel and Jiri.Ceiver to Pink Floyd and Godspeed You! Black Emperor – brought back an understanding of why he wanted to write music in the first place.


          Just In

          35 NEW ITEMS

          Latest Pre-Sales

          112 NEW ITEMS

          It’s December 1 - so time to get festive 🎄 The classic ‘A Charlie Brown Christmas’ album is, sadly, currently out… https://t.co/MC7OnpnBkT
          Wed 1st - 11:47
          If you’re coming into town today via the tram, listen out for @Tim_Burgess who is the guest announcer all week 📢… https://t.co/jM58bGBcfB
          Wed 1st - 10:12
          Good Morning from a rainy Manchester ☔️🌂 OPEN 10am - 6pm today as usual. FYI 7” singles have been moved closer to… https://t.co/JCnIZESD4Q
          Wed 1st - 10:00
          Looking forward to this release on Friday. Get those pre-orders in now. https://t.co/Opaajw9JuZ) Plus, it’s on pu… https://t.co/ji9jcsSAPD
          Tue 30th - 6:05
          Fantastic line up here across town on Sunday. https://t.co/Nikz60uoov
          Tue 30th - 6:03
          E-newsletter —
          Sign up
          Back to top