A ravish array of electronic soundscapes, from the electro-pop briskness of “Resonator” to the meditatively hypnotic “Bowls in Motion,” impresses throughout Somewhere, Somehow, Sometime, and Why Now? — a new album from Paul Jorgensen, featuring recordings made between 1993 and 2023 in Australia and the United States. A number of talented collaborators add organic instrumentation — electric violin, trumpet, drums, and guitar included — alongside Jorgensen’s atmospheric production.
“Tone” opens with an eerie spaciousness, easing into an array of spacey synth frequencies and unsettling brass chills. Bird-chirping signals a lusher contemplation, even as free-flowing brass tones continue to linger. “Tone” is a thoroughly compelling way to kick off the release, emphasizing Jorgensen’s talent for steadily unraveling structural precision. The ensuing “Electric Buddha” is similarly intriguing, as static-y movements and a whirring synth bustle converge for an enjoyably dark traversal into futuristic synth-pop pursuits past the first minute.
The album excels in its variety of instrumentation, evidenced particularly on “Bowls in Motion.” Rain-like trickling and chiming calmness craft a meditative spell, embracing a natural and free-flowing spirit. “Hallowed Ground” is comparably lush, though succeeding in gentle washes of piano and wintry synth fragments. The glitchy electronics and trip-hop percussion within (“Little Feet (on the farm)” exudes some Flying Lotus vibes, while the finale “April Showers” struts an otherworldly composure fit for an alien spaceship descent; glimmering synths and eerie pads converge for a cinematic allure. Jorgensen thoroughly impresses with a gripping atmospheric composure throughout Somewhere, Somehow, Sometime, and Why Now?.
This and other tracks featured this month can be streamed on the updating Obscure Sound’s ‘Emerging Singles’ Spotify playlist.
We discovered this release via MusoSoup, as part of the artist’s promotional campaign.