The concept of ambient music as defined by Brian Eno in the mid-’70s was music that must be as ignorable as it is listenable. In the decades since, it’s taken on new forms and new meaning, with musical atmospheres and textures, loops and beats, and concepts embracing jazz, rock, house, electronica and other motifs.
Anna Phoebe and Aisling Brouwer, aka Avawaves, have crafted a synthesis of their classical backgrounds with technology to create ambient soundscapes – oh, go ahead, call them compositions – that turn Eno’s original declaration on its head: They are as compelling as they are ignorable, probably more so.
Brouwer’s echoey piano and gentle synth textures set the mood for Voyager II, as the opening “Waves” finds Phoebe’s violin soaring above – but more singing than searing, in line with Avawaves’ classical backgrounds. The music’s intensity grows throughout the recording.
By the time of the fifth cut, Avawaves’ almost-title tune “Voyager,” the beats have become more pronounced. The roles are reversed from the beginning of Voyager II, with Anna Phoebe’s sawing textures providing background for Aisling Brouwer’s insistent keyboards before the two trade off the lead role. The violin is slightly processed, adding a layer of echo.
The throbbing bass of “Resistance” and the insistent beats of “Into the Deep” and “Deep Blue” give Voyager II a propulsive energy that’s a hallmark of the ambient scene.
While classical purists may be aghast, Avawaves’ music is enjoyable for those with open ears. The genre emphasizes texture and atmosphere over melody, but a careful listen will reveal plenty to recommend it. And those interested in a more casual approach can still enjoy Voyager II without it becoming simply sonic wallpaper.
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