Image of movie theater by Fernando de Sousa from Melbourne, Australia (Flickr) [CC-BY-SA-2.0 (], via Wikimedia Commons

On today’s edition of At Water’s Edge, works that could easily be in film soundtracks, whether for their symphonic quality or for the mental images they evoke. Listen with us as we explore cinematic music today.

Adam Fielding – “Standing Alone in the Rain” – Unreleased – 2004 (2:26)

Adam Fielding is a UK based electronic musician specialising in blending rich soundscapes with strong melodies to create music that is both diverse and accessible, while retaining a strong emotional undercurrent. 2008 saw the release of his debut album “Distant Activity”, in which Adam combined elements of atmospheric electronica with dance, shoegaze and symphonic sensibilities to create a unique musical experience.

The Ambient Visitor – “Interamnia” – Complex Silence 24 – 2012 (15:16)

the ambient visitor is an ambient side project of bing satellites, also known as Brin Coleman, a musician, producer and DJ from Manchester, UK. This is deep and mysterious longform ambient music. Quiet and atmospheric. The ninth album in the Ambient Visitor collection is part of the Complex Silence series, released by Treetrunk and overseen by Phillip Wilkerson.

The music on this album started out as part of one long generative piece.

Each note plays in its own repeating loop. Each loop is of a slightly different length, so the music never quite repeats itself (or at least, not for a very, very long time).

The composer then slowed down the left channel of the stereo mix ever so slightly so that on the second track, ‘Interamnia’, the music starts of at the same point but slowly drifts apart. On the first track, ‘Ceres’, the music starts off drifted apart but meets in the very middle of the track, only to drift apart again by the same degree by the end of the track.

The two tracks follow Brin’s tradition of naming tracks after objects in the Solar System. Ceres and 704 Interamnia are large asteroids.

Altus – “The Grey Horizon” – The Grey Horizon – 2008 (50:38)

Altus is Mike Carss, an ambient composer based in Ottawa, Ontario, Canada. His music takes several turns, much of it long-form symphonic. Mike Carss has been creating ambient / symphonic music since 2001, with his first public release “24 Hours”. He is a prolific and generous composer: all of his music (except one album) is available for free download through the Creative Commons license on his web site,

This particular track is a rare live performance from 2008.

Null Hazard – “Infinity” – Emphatic – 2012 (28:17)

Null Hazard is the ambient project name of Brian Wright. A creative type from way back, Brian attended the High School for the Performing and Visual Arts in Houston, Texas, graduating in the mid 1980s. His emphasis was on visual arts, which adds an interesting visual appeal to his music. More accustomed to shorter pieces in the three- to six-minute range, it wasn’t until he started composing for this program that he really explored long form ambient music. The results have been fantastic!

Emphatic is available on

Mystified – “Meditation Mix” – Meditation Mix – 2009 (60:00)

Mystified is one of several music projects created by Thomas Park. He is the sole member of mystified ( and also the only member of Mister Vapor (available at the same URL).

Thomas Park has been involved with music for his entire life. He was trained in classical and jazz music as a teenager, and played the trombone and piano. His listening habits changed in the late 1980’s, and Thomas became interested in electronic music. After several years of writing techno as the band AutoCad, Thomas was fortunate enough to collaborate with Robin Storey of Rapoon. This project helped Thomas to evolve into the ambient / drone band Mystified. Mystified has found considerable success, both through online and physical releases, and is known for being proficient, creative and prolific.

The music of Mystified is mainly of an atmospheric nature. Sometimes for Thomas less is more, making his music ideal for listening while working, sleeping or doing other things. The music of Mystified especially explores texture, consistency, and a type of variety that could be called subtle. This is not the utopian ambient of the typical soundscape artist. It is serious music for serious people.

Mystified music has found many purposes, including scores for films, online and terrestrial radio shows, festivals of aesthetic, political, and other varieties, informational cd-roms, spots on many scores of compilations, and quite a few independent releases.

Lucette Bourdin – “The Stars Which Sang” – Radiant Stars – 2009 (30:33)

Lucette Bourdin, who is now among the stars herself, was born and raised in France. Always an independent and self-disciplined individual, and feeling that the art programs available would only limit her expression, Lucette embarked upon a rigorous study of artists, color and design which eventually resulted in her own unique style. As accomplished at visual art as she was, Lucette was also a master of the ambient music genre, producing a wide ranging collection of albums that can only be described as masterworks. Lucette saw an interesting duality between the two forms of art, where the practice of one reinforces the practice of the other.

Lucette once said:

“The closest analogy to how I experience both the act of painting and a finished work of art is music. While I am painting I feel like music is streaming through me on to the paper. It is difficult to say whether I am playing the music or the instrument being played. My experience is the reverse of music however, because the performance is done privately in my studio while the completed score in its entirety is what I show the public. There is another interesting distinction between the two mediums for me as well. Music is played in a line, it is linear, but it creates an atmosphere that continues after it has been played. A painting is a whole piece of music sounding all at once and which the viewer replays by looking at it. As the eye wanders around a painting the colors, forms, textures and their relationships are “sounding” within the viewer creating an experience or mood or atmosphere.”

Lucette passed away in February of 2011, but her unique perspective on music and art lives on. Find out more about Lucette and her work at and

A Produce – “A Smooth Surface” – A Smooth Surface – 2004 (24:43)

A Produce has been exploring the vast realm of trance-oriented musical expression for several years in rock formats and other styles. In the early 80’s, he established Trance Port for a series of cassette-only releases, to document the growing local trance music scene.

Of the nine releases, three were compilations of local musicians/artists working within the realm of modern day trance music. Now out of print, the L.A. Mantra series of tapes documented the early 80’s trance scene in Los Angeles.

In 1988, A Produce’s interest expanded to modern day synthesizers as they offered a richer palette of sounds, and his first solo album, The Clearing, was released. Self-described as “an album of conceptual space”, it featured contributions from several former Trance Port artists.

In 1992 he followed with Reflect Like a Mirror, Respond Like an Echo which, like The Clearing, almost defied categorization, neither falling neatly into the New Age category, or into the realm of “space music.” Rather, both works blended the complementary aspects of several realms of modern day trance music — ethno-ambient, electronic, New Age and space music, the idea vehicle for relaxation, contemplation, even movement.

In 1994, an extended 3-track EP entitled A Smooth Surface was released with the intention of exploring the realm of more meditative trance musics, taking the ideas first presented on The Clearing and Reflect Like a Mirror to an even deeper level.

Adam Fielding – “Atlantis” – Unreleased – 2004 (5:10)

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