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Other Places gives us a track-by-track rundown of new album, 'Lost In The Sea Of Paradise'

12 July 2017 | 6:26 am | Jackson Langford

To perfume your music with the opulence of a cinematic score is a tough job. To do so and then make it contemporary and accessible for the masses is even more so. But, apparently, no task is too difficult for Melbourne-based visionary OTHER PLACES. Otherwise known as the drummer for TAIPAN TIGER GIRLS, Mat Watson fashions his craft with the spirit of the interstellar and the blockbluster perfectly on his third record Lost In The Sea Of Paradise. Released through IT RECORDSOther Places has given the endlessly vast scores of Blade Runner and 2001: A Space Odyssey a run for their money on this gorgeously experimental album, and he's given us a complete rundown of the whole thing - track by track.

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Endings Are Beginnings

Inspired by a love of Santo & Johnny, a wonky hellish electronic symphony is being controlled by a lap steel. The means of creation feel important, but at day’s end, mean little except to the artist. Field recordings of the ocean tap into sounds of early exotic instrumental music. I think in metaphors. It drives me crazy.

No Vibe Pipeline

No Vibe Pipeline takes it’s cue from a 1960’s surf instrumental song, but exists across a longer time line. Modern production disguises it’s true identity and the electronic noise extinguishes the simplicity and naivety of the spirit once found in a pre Beatlemania, surf crazed western world. The cymbals are warped in symbolic fashion.

You Can’t Win

You can’t fight the tide. Accepting defeat is something we all face. We will be taken where we must go. In this case, straight to an un-resolved endlessly cycling synthesiser motif rooted around a four to the floor kick drum and pinched metallic blip drum. Kraftwerk meets Conrad Schnitzler’s ‘Rot’


This appeared after a night listening to Jan Hammer and thinking about how much I love to control analogue electronics with MIDI control devices. MIDI is an amazing tool if used in the right way. It also has the potential to destroy what it promises to improve. This night, I drove Jan straight into a cosmic dream and we had a very fine time.

Slow Delay

Literally, just take a breath and wait. Things don't necessarily happen straight away. The more delay used on the drums, the happier I got. Delay has a way of making humans feel safe. Echoes from the cave wall and all that psychoacoustic stuff. This sits nicely at a slow tempo, allowing time for the sequencer to cycle through wavetable oscillators. Smells a bit gamey. I grew up with 8 bit jams, so I gratefully accepted what appeared.


Heading into the cosmic ether in search of newness. There is a cinder and it will take hold.

Arpeggios and constant change exist in life as in electronic sound creation. The title suggests the mood.

A Calming Wave

An ambient cosmic synth jam. It warbles and bubbles along on a bed of timbre and evolving texture.  An electronic symphony finds it’s way into the forefront, opening the cosmic cloud for a moment before disappearing. A hopeful gesture fades into nothingness.


A cosmic day dream inspired by the piano work, ‘Dream’ by John Cage. Unclocked sequencers are the most satisfying way to create cycling melodic movement and this one cycles so slowly you could boil the kettle between each change. Resolve occurs in the form of raw electricity.

While Drifting

Sitting in the warm breeze looking at the ocean as a new dawn appears. Distorting traditions of early 1960’s exotic instrumental music. This might actually work better without modern rhythm production. The moody minor melody played on steel, with a hint of percussion. I opted for an electro disco jam. The reprise elevates into a densely populated stratosphere, or a black hole. Whatever your preference.

Only We’re Lonely

An Enoesque resolve tags the album. Gentle waves and electronic tones offer a suitable come down for a weary one way traveller.

Lost In The Sea Of Paradise is out now via It Records.