- prof_lofi (original) (raw)
New release: And the Sky Breaks Open
Ash International
Get it here (on September 20th)
Thompson’s work challenges conventions by engaging the audience in ever-evolving soundscapes, situated at the nexus of several avantgarde subgenres.
Review on Touching Extremes
Previous Reviews
“From the start, Thompson sets the mood, a melancholy pulse establishing an inexorable momentum, around which he weaves a semi-organic machine chatter evoking Ovalcommers-era Markus Popp, or Jim O’Rourke and Peter Rehberg’s trailblazing laptop forays, in a heavy-lidded, crepuscular reverie.” (Cafe Oto)
“I never heard a performance from Bill (be it solo or collaborative) where this tremendous sense of wonder and amazement did not manifest itself right from the start. He often seems genuinely enchanted by the magical realms which can be opened up by true art, perhaps because of his ability to compose in the moment; the many unexpected changes in mood and direction of ‘Into Light’, even in the first 5-6 minutes, are quite breath-taking.” (The Sound Projector)
“After many hours spent in infusion with the material, we’re inexorably reminded of the essentials. One breathes more efficiently; the connection of the self with the vibrational momentum is intensified. As the spirit hangs the “do not disturb” sign on the door knob, we stress the value of someone who, without much fanfare, acts for the proper exchange of air in the innermost rooms of human microcosms willing to accept and apprehend.” (Touching Extremes)
“Black Earth Tongue is an immediately absorbing listen, with ringing drones, gently oscillating tones, clangs, sepulchral non-rhythms, controlled distortion and earthy bass seeming to evoke the notion of persistent growth and spread. How you’d choreograph for this work of mycological genius I really don’t know.” (Further Music Blog)
Thompson has one of these rare instruments and elicits a colorful magical world of sounds over 51:47 minutes.” (Westzeit – 5 stars )
“Calming and healing music, it has near-spiritual qualities which can only be good for the listener’s soul.” (The Sound Projector)
“The question could be asked: Does Thompson create music or alien massages?” (Resonance Magazine)
“Attention deficit can be cured with relish using this release.” (Amusio)
“Much like a horizon, this is all done evenly and effortlessly, Thompson assembles his layers and allows their interaction to tell their own tales.” (Musique Machine)
“His music is transparent, intangible, evoking dark and powerful presences, tremendously disturbing chthonic divinities that Thompson makes alive and close.” (Music Map)
Bill Thompson is a sound artist and composer whose work has been performed extensively throughout the UK and abroad.
A native of Texas, he relocated to the UK in 2004. Since then he has received numerous awards and commissions including the PRS for New Music ATOM award, the GAVAA visual arts award, a PRS for New Music Three Festival commission, the Aberdeen Visual Arts Award, and was nominated for the Paul Hamlyn Award.
His installations and performances frequently utilize found objects, field recordings, repurposed live electronics, and digital media to create environments that encourage active attention to each moment. He applies this same strategy within his compositional work which often include long sustained tones, densely layered textures, and indeterminate or improvised structures. He has written for a wide range of instruments including voice, guitar, contrabass, bagpipe, percussion, organ, string quartet, mixed ensembles and live electronics. As a solo performer he works primarily with live electronics and Moog guitar.
In addition to working as a solo artist, Thompson has collaborated with choreographer Ian Spink for several years in their company Airfield. Their work blurs the distinctions between dance, theatre, music and installation. Additionally, he has worked with several other well-known artists including Keith Rowe, Faust, EXAUDI and others.
He is an avid supporter of new music and is the director of both the Mercury Over Maps and Intraspect concert series. He taught collaborative arts practice at the Guildhall School of Music and Drama for several years and currently co-directs the multidisciplinary artist workshop fast+Dirty with Ian Spink and lectures at the University of Surrey.