#Oliver Coates

[knightofleo]

Oliver Coates | Ultra valid

[machotezin]

[rihosseini]

GIRLS WHEN UNDER PRESSURE AFTERSUN VERSION

[ruinedholograms]

(2018)

[realisaonum]

Tram - Oliver Coates, Occupied City (Original Motion Picture Score)

[jgthirlwell]

playlist 01.27.23

Mirlitorrinco Odas Odas mixtas para criaturas mínimas (Dur Et Doux) Wippy Bonstack Dataland (Mogul Intermissions) Oliver Coates The Stranger OST (Lakeshore) Pimpon Pozdrawiam (Pointless Geometry) Nwando Ebizie The Swan (Accidental) Ani Klang Ani Klang LP (New Scenery) Pontiac Streator Sonie Glo (West Mineral) Kramer Music For Films Edited By Moths (Shimmy Disc) Gotho Mindbowling (Controcanti Produzioni) Marina Nerlop Pripyat (PAN) Whettman Chelmers Joan (Flaming Pines) Blanck Mass The Rig OST (Invada) Magma Eskhal 2020: Bordeaux, Toulouse, Perpignan (Seventh Records)

[pablolf]

Under Pressure Aftersun Version

[affairesasuivre]

Aftersun (Original Motion Picture Soundtrack) / Oliver Coates

In filmmaker Charlotte Wells’ feature debut Aftersun, memory is elusive. In the “emotionally autobiographical” drama, a woman named Sophie (played as a child by Frankie Corio and as an adult by Celia Rowlson-Hall) remembers a vacation she took to Turkey with her father Calum (Paul Mescal) when she was a kid. Through gauzy flashbacks—and even gauzier camcorder home movies—the film paints a poignant and idyllic picture of the vacation. Even through the warm nostalgia, Sophie seems to grapple with feelings of grief, as she reconciles her positive memories with her father’s emotional turmoil. It’s a moving depiction of how the people we love can remain inaccessible to us—all we know about them is what they let us know. 

Wells assembles these vignettes into a film that feels heavy, dreamy, and touching, feelings magnified by composer and cellist Oliver Coates’ score. Drawing on a love of the minimal yet phenomenological work of Éliane Radigue—whose compositions Wells used as a temporary score while the film was in progress, per an interview with CRACK—Coates made slow, still tracks that nevertheless feel suffused with meaning and experience. Through elliptical string arrangements, tranquil synth pads, and hallucinatory found sounds, the Aftersun score communicates a sense of wistfulness and yearning amid the otherworldly sounds.

In a statement accompanying the score, Coates writes that he sought music that could reflect “the vivid glow of memory”—a thought process illustrated by “One Without,” a key cue used in the film’s final scene and credits. Built around a repeating string figure, overlapping with shimmering reverb trails and little else, it’s spare but flickers with warmth and light. Echoing and repeating for a little over four minutes, it feels like a meditation on constancy and loss, highlighting what stays the same and what subtly changes as memories flit through your head, again and again. 

Coates is known for his playfully abstract approach to electronic composition—even indulging a love for jittery Aphexian dance tracks on 2018’s Shelley’s on Zenn-La—but his work for Aftersun is decidedly more minimal. Some tracks are formally complex, while others, like “Tai Chi,” are constructed around simple string drones. Still, he wrings a lot of emotion and texture out of the lightest touches. This depth is due in part to some technological treatment. Coates credits sound designer Johan Nilsson for “tricking” the algorithm of an audio software into “extracting percussion or bass or vocals where there is none.” Even the simplest tracks feel haunted—shimmering with unexpected life in a way that feels reminiscent of the wriggling ambient pieces collected on PAN’s influential Mono No Aware compilation. As a result, these pieces carry emotional weight even outside of the context of the film: It’s ambient music full of suggestions and shadows, allowing curious listeners to approach it and fill in the gaps with meditations of their own.

[bob-the-movie-man-film-reviews]

Aftersun (12): A Whole Lot of Nothing Happens... Brilliantly.

A One Mann’s Movies review of “Aftersun” (2022). A big one to knock off my pre-BAFTA watch-list, “Aftersun” is up for 5 BAFTAs – “Best British Film”, “Outstanding Debut…”, “Lead Actor” (for Paul Mescal) and for casting (Lucy Pardee). Paul Mescal is also – surprisingly, for such a small British picture – nominated for the Best Actor Oscar. Bob the Movie Man Rating(s): Plot Summary: Estranged…

[noguitarsnosejobs]

[mantaypeli]

Aftersun

★★★★★ Existe un lugar donde los recuerdos se entremezclan con los deseos. Donde recobramos nuestra esencia y nos invade la infancia. Ese territorio en el que la inocencia campa a sus anchas, ajena a la realidad cotidiana. Como cuando estábamos de vacaciones y el tiempo se detenía sin nosotros saberlo. La memoria es el refugio al que recurrir para rescatar ese pasado. Quizá imperfecto. Tal vez…

[dustedmagazine]

Oliver Coates — Throb, Shiver, Arrow of Time (RVNG Intl.)

On his new album, the wonderfully titled Throb, Shiver, Arrow of Time, cellist and soundtrack composer Oliver Coates presents 10 melodically direct but texturally ambiguous pieces. Coates plays with a piercingly emotive tone, often with driving intensity, but he counterbalances this intensity with a delicate touch and well-handled dynamics, both within and between songs, working in guest vocalists to bring some humanity to the fore. 

Coates’ experience working on soundtracks is immediately apparent from opener “Ultra Valid,” which acts as a rousing overture, before “Radiocello” harnesses dense, buzzing, organ-like tones. “Please Be Normal” foregrounds clearer bowed cello, surrounded by dappled textures that, at times, sound like a giant purring cat. One of the album’s guest vocalists, Malibu, coolly intones some spoken word over the glitchy “Apparition,” which comes across as a little New Age until you register what she’s actually saying, at which point the song feels surreal and disorientating: “Never stop swimming until you reach the ocean.”

If the sound sources Coates is employing are primarily cellos, then there must be a lot of creative treatment in the production, whether via stomp boxes in real time or digital processing after the fact. For example, on “Address” the massed tones sound like an almighty harmonium, while “Backprint Radiation” features what sound like ghostly flutes. At the other end of the spectrum is “90,” a late highlight, which patiently unfolds into ambient abstraction, like early Aphex Twin. To snap the album back into focus, “Living Branches” introduces heavenly vocals from Chrysanthemum, before “Make It Happen” brings the album to an uneasy conclusion, sounding like submerged radio transmissions from another dimension.

Tim Clarke

[losercomputers]

Listens of the Week!

10.20.24 - 10.26.24

The last week was busybusy for me but also full of love! Sending all my kindness and well wishes to all of you <3

Top Left: God Gallery, Compilation/Various Artists

As a big Joanne Robertson and Oliver Coates fan, I was very happy to listen to this comp. Been trying to recenter myself and listening to more minimal ambient works during my alone time has been a good aid in trying to accomplish that.

Top Right: Imaginal Disk, Magdalena Bay

WOWOWOWOW. I love Magdalena Bay x1000 ....

This is genuinely an amazing no-skip record. I'm not super big into indie pop, but this record was quite boundary breaking both in terms of the overall audioscape and how the narratives she told were depicted in the lyrics. A must listen if you haven't done so already.

Bottom Left: Euphorophilia, Suzy Sheer

Both this artist and record are highly underrated, especially among the electroclash and hyperpop scenes. Since I am much more familiar with and attuned with the electroclash scene, I can defenitely see Suzy Sheer really making their mark within the scene and producing some innovative work. Can't wait for their future releases!

Bottom Right: White Paper, Patch+

Just some gooooood electronic music.

I hope you all take care and have a good week, much love.

[iamlisteningto]

Oliver Coates’ Throb, shiver, arrow of time