Returning, Dream

Electronic Ambient, Modern Classical

20,00 €

In stock

Label

Gondwana

Release date

September 13, 2024

Vinyl

Black

‘returning, dream’ is the second album from Paradise Cinema – the
‘Fourth World’ inspired project led by multi-instrumentalist Jack
Wyllie (Portico Quartet/Szun Waves). While Wyllie’s other projects move
between tightknit electronica, widescreen minimalism and improvised
ambient sounds, ‘returning, dream’ contains nods to Jon Hassell, Terry
Riley, Don Cherry and Midori Takada as well as more contemporary
electronic, ambient and non-western music and even draws inspiration
from physics and science fiction.

The first, eponymous, Paradise Cinema record, released in 2020, was
recorded in Dakar (Wyllie lived in Senegal for a while in the late 2010s)
and featured the dense rhythms of Mbalax music combining with Wyllie’s
textural saxophone and synth playing, but here he takes a step into the
unknown: The music is no longer built primarily around the rumbling
propulsiveness of Mbalax, but takes its inspiration from the Many-Worlds
Interpretation of quantum mechanics, which suggests that there are
many different worlds that branch off from our own. Wyllie explains: “It is
an imagining of what music could be like in a different time and space,
ancient and futuristic from everywhere and nowhere at once. I was
listening to a lot of physics podcasts when I created this record. I loved
the many-worlds interpretation of quantum mechanics; about the multiple
paths we are taking each time a quantum decision is taken. The different
worlds then splitting off like branches on a tree. I could imagine different
histories and worlds and multiple versions of myself, others and even
other societies existing. In this album I’ve dug into these ideas and
attempted to make music that would come from those different spaces,
trying to poke my finger through to the other selves and
stories. Effectively a form of composed science fiction, the music is an
idea of what might be occurring or have occurred on a branch of the tree
in a different world. But I like to think the tracks might actually have been
composed somewhere or sometime.”