Out now on US imprint Synphaera: Manifolds. Three long-form post Berlin-school tracks in full sequencer galore. The album and track titles were inspired by various two-dimensional manifolds represented in a three dimensional space. A transformation that, from my perspective, is a good analogy for the way that my music transforms from a few notes in a straight line to a complex pattern where the notes move in every direction, but maintain their harmony.
Cosmic Reef, an image that marks Hubble’s thirty years in space, inspired an album that marks my ten years on Bandcamp. Clocking in at well over 100 minutes, it’s the longest sequencer-driven album I’ve released so far.
As much of my albums have a technical or cosmic theme, they all have been inspired to some degree by the “Veluwe”, or “fallow lands” as its name derives from. It is a region close to home where I often go to set my mind at ease, either by foot or by bicycle, but always equipped with my camera. “Fallow Lands” is an homage to the Veluwe. The track titles are based on some of my favorite parts, and are accompanied by individual photographs for the artwork.
“Arjen Schat | LP2” is out now on Trésor D’argent and available on vinyl + digital + stream.
“For the second installment of Trésor D’argent, simply called “LP2”, Arjen Schat returns to the original format for Berlin-school. Two 20-minute electronic explorations, guided by a myriad of increasingly complex sequential patterns.“
“LP2” is pressed on black 140g vinyl, with full-colour sleeve and labels, and white poly-lined inner sleeve. Limited to 100 copies worldwide.
Spanning the entire month of June, I have made at least one recording per day. I have set this goal to increase my productivity as I was feeling I was not recording as much as I would like to. This album is curated from 95 recordings, some of them different takes on the same concept or different versions of the same recording, resulting in 14 tracks that clock in at 54 minutes total.
On average, the track lengths are shorter than most of my work in recent years, which make the album feel more like a story unfolding, expressively narrated in my own musical language.
A year after setting up my smaller studio, I’ve settled in quite nicely and try to be as prolific as I can, continuing my quarterly releases per project. The name of the studio derives from the chemical formula of the name of the street we live on, which is named after a form of quartz. At its core, the studio is still based around a set of analog synthesizers and sequencers with a touch of digital synthesis and signal processing, but it’s less expandable due to its spatial limitations. Despite these limitations, I try to broaden my horizon by adding more diverse elements and exploring non-western scales, as can be heard on this album.