Glideascope tangles computers, intriguing samples, and orchestral composition to make music for this digital age. With sounds as lush as classical composer Pachelbel on one track and up tempo Jamaican Patois vocals driving the next, this is a true kaleidoscope of sound.
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“When you see the train carriage next to you blown to bits, it changes your perspective on the world. Suddenly the things you thought were important aren’t, and you try to get back to basics. You want to spend time with your family and friends and more importantly, you are looking for a reason to keep going.” Glideascope’s calm voice trails off for a moment as he remembers that day.
Glideascope was riding on the underground train a few metres away from one that was blown up in a terrorist attack. With the horrific images from the London Bombings of July 7th 2005 seared in his mind, Glideascope retreated. He reflected and tried to find meaning. When he finally returned home to music, he was stunned to find over 4,000 messages from devoted fans on his My Space page. He started to think that maybe he was on the right path after all. Maybe his music did have a bigger purpose.
Glideascope tangles computers, intriguing samples, and orchestral composition to make music for this digital age. With sounds as lush as classical composer Pachelbel on one track and up tempo Jamaican Patois vocals driving the next, this is a true kaleidoscope of sound.
It would be easy to create a laundry list of styles to define Glideascope--Dub Reggae, Trip Hop, Classical, Electronic, World Music—but that just won’t do. The best person to define the work is Glideascope himself. He calls his music, “The soundtrack for a movie never created.” Hearing it brings to mind some visually stunning films like Blade Runner, The Last Samurai, and Cry Freedom.
Glideascope's work is heavily influenced by the works of Bob Marley, Craig Armstrong, Afrika Bambatta and Massive Attack (particularly their first album) to name a few.
Like many children at any early age, Glideascope picked up his first instrument, a recorder. He then quickly moved on to the xylophone, piano and violin. As a teen, he toyed with the bass, acoustic, lead and rhythm guitar. His parents wondered if he had the discipline to stick with any one instrument long enough to master it. Glideascope was totally content with his tinkerings though, because he knew that he was just experimenting with the overall possibilities of sound.
Glideascope’s first EP “With Strings Attached was released in November of 2003. MTV knew a good thing when they heard it and licensed the EP for use with their documentary MADE and My Sweet Sixteen. 2005 saw even greater success with a publishing and distribution deal from Jet Star and more licensing and sync deals. In 2006, Glideascope released another EP entitled “Big Big Disgrace” which yielded a hit worldwide MTV video (of the same name) featuring Junior Ruff on vocals.
2006’s Audio Cinematography is Glideascope’s first full-length album, and his latest release. One of his proudest moments so far was when well-known DJ Gilles Peterson of BBC Radio 1 nominated “Audio Cinematography” for 2006 album of the year, along with such contempories as Gotan Project, DJ Shadow and Bonobo. Even though he’s never had any formal musical training, he had no trouble teaming up with the Prague Philharmonic Orchestra, to record “Big Big Disgrace.”
How does Glidescope create these chill, ambient multi-layered musical landscapes?
He says, “I start off with an emotion or experience. I visualise these as pictures and moving images. I convert these pictures into sounds, layering whilst the main hook forms; until it evolves into a song.”
2009 sees Glideascope taking a step back—in order to find his future as an artist. He doesn’t have a new album out, instead, he’s decided to focus on bringing his previous releases “Audio Cinematography” and “Big Big Disgrace” to a wider audience. Why? Because even more people are ready to listen. He says, “This is a wake up call. We’re in a global recession. Friends are losing their jobs. Neighbors are losing their homes. A few years ago, people in general were more self-centred. Today, people are listening. They are out there looking for answers and music can sometimes provide it. I was out of the music space but the fans brought me back in.”
“Big Big Disgrace” is an upbeat song you can dance to, with an addictive hook and serious, cautionary lyrics. Sung in Jamaican Patois, it gives the song a true World Vibe.
Discussing climate change “Big Big Disgrace” chimes:
“Global Warming, it is a warning, watch the ozone layer, the hole is getting bigger. The Amazon forest is getting smaller. Oh what are we going to do? Plant some trees all over the world and things might get better...”
From “Audio Cinematography” we have “Stop The War, (Bring Peace)" which is about as close to a sublime protest song as you are likely to hear these days. With samples of John F. Kennedy attempting to avoid conflict during the cold war, “we seek no conquests, no satellites, no riches--we seek only the day when nations shall not lift up sword against nation, neither shall they learn war any more.” The floating piano sounds swirling around JFK’s strong words highlight the fact that we can be serious and earnest about creating change, and we can also use the beauty of music to guide us along the way.
On “Stop the War (Bring Peace)" you have London based composer Glideascope, collaborating with the Prague Philharmonic Orchestra and sampled vocals by an iconic American president. "Stop the War (Bring Peace)" hints at Glideascope’s global potential to make real change with his music.
What’s next for Glideascope? That all depends on his fans.
“I’m most interested in connecting with my audience. I want to hear what they have to say, listen to their thoughts and ideas. Using this as the foundation for future projects..."
Glideascope
Glideascope
Glideascope
Glideascope
