Hello,
Today's Artist is a British electronic producer who meticulously constructs lush arrangements, blending digital beats and soothing ambience. His unique, hypnotic style made him a sought-after producer in the pop world, and earned him credits on albums by Coldplay, Massive Attack, Brian Eno, and Herbie Hancock in the late 2000s. Starting out as a gifted child pianist, in his teen years he became interested in synthesized sounds and started making acid house and drum'n'bass on a four-track recorder using computer software. Meanwhile .. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Jon Hopkins was born in 1979 in Kingston upon Thames, Surrey and grew up in nearby Wimbledon. He first became aware of electronic music after hearing early house music on the radio at the age of seven or eight, and also became a fan of Depeche Mode and the Pet Shop Boys. These records inspired an early fascination with synths. At the age of 12 Hopkins began studying piano at the Junior Department of the Royal College of Music in London, where he continued until age 17. The composers that were greatly influential to him whilst studying were Ravel and Stravinsky, and he eventually won a competition to perform a concert of Ravel's Piano Concerto in G with an orchestra. For a time Hopkins considered becoming a professional pianist, only to decide classical performance was too formal and unnerving to pursue full-time.
As a teenager he also listened to acid house, early hardcore, grunge, as well as electronica artists such as Acen, Seefeel, and Plaid. When Hopkins was 14 he got his first computer, an Amiga 500, and started programming MIDI material. By the age of 15 he had saved up enough money from winning piano competitions to buy a low-level professional Roland synth, and on this he began creating his first full-length electronic compositions. After finishing his final exams at age 17, Hopkins accompanied his friend Leo Abrahams to an audition for Imogen Heap's backing band. Hopkins decided to audition as well, and was hired to handle both keyboard and samples, while Abrahams was hired as guitarist. He toured with the new band for the entirety of 1998.
In 1999 Hopkins signed with boutique London label Just Music as a solo artist, and began recording his debut album Opalescent. At the time he was also working part-time as a studio session musician Opalescent attracted positive press attention upon its release, and several tracks were licensed to Sex and the City. The Guardian reviewed it as "a beautifully realized debut. Using synth oozes, phased and echoed guitars and pianos and chilled beats, his wonderful tunes drift from calm to eerie power like a restless sea. It will delight any lovers of beautiful music." DJ Magazine gave it 4/5 stars, and stated "Piano, guitar strings and slow beats blend like the clouds at sunset (or an opiate smoothy) filtering in and out like elegantly wasted beauty. Darker drums add a further depth."
Hopkins released his second album, Contact Note, on Just Music in 2004 while still working as a studio musician. The album slowly gained an underground following but failed to take off, and led Hopkins to become disillusioned with his solo career, and take a break from writing to learn how to become a producer.
By 2004, Abrahams had been collaborating for some time with ambient musician and producer Brian Eno. Abrahams played some of Hopkins' second record for Eno, and Eno invited him to join them for a jam session. On the first day of their collaboration they came up with some of the music for Eno's upcoming album Another Day on Earth, and Hopkins became a long-term collaborator. Shortly afterwards Hopkins produced King Creosote's album Bombshell, which initiated his relationship with the Fence Collective. He also co-wrote tracks with DJ and composer David Holmes for Holmes' Holy Pictures album, and remixed for James Yorkston.
In early 2007 Hopkins was invited by Eno, who was producing Coldplay's upcoming album Viva la Vida or Death and All His Friends, to join the band in the studio for a day. Hopkins ended up staying and contributing to the album for the next year, co-producing several tracks and playing organs, harmoniums, and other keyboard instruments on others. The intro to the track "Violet Hill" came from an improvisation with Hopkins and Davide Rossi, the album's string arranger. Throughout this period Hopkins was periodically creating his own solo tracks, and his song "Light Through the Veins" was adapted to serve as the introduction to the album's first track "Life in Technicolor". "Light Through the Veins" was also picked by the band to serve as the backing for the track "The Escapist", which is hidden at the end of the album. Viva la Vida was released in 2008, and won Best Rock Album at the 2009 Grammy Awards and became the best-selling album of 2008. Coldplay asked Hopkins to serve as the pre-show DJ and opening act for their 2008 world tour. Hopkins toured with the band for six months through England, the United States, and Japan. He performed at venues including Madison Square Garden and the London O2 Arena, with crowds as large as 20,000 people.
In 2008 Hopkins was commissioned by choreographer Wayne McGregor to compose music for Entity, a production of McGregor's "Random Dance" group. Entity was performed live at Sadler's Wells in April 2008 to critical acclaim. A world tour followed throughout 2008 and 2009.
Hopkins also has co-writing or producing credits on albums by artists such as David Holmes and Dan Arborise. He is also known for remixing a variety of artists, including Wild Beasts, Nosaj Thing, Imogen Heap, Four Tet, and James Yorkston. He was also one of the few producers chosen by Radio 1's Rob Da Bank to remix film director David Lynch's first electronica release, "Good Day Today" / "I Know", which was released on Sunday Best Records.
Hopkins signed to Domino Records in late 2008. Hopkins's third album, Insides, was released by Domino Records on 5 May 2009. It included the track "Light Through the Veins", which had previously been used on the Coldplay album, Viva la Vida or Death and All His Friends. Some of the tracks had been written by Hopkins sporadically since his last release, while others were based on the music he had composed for the Entity production. Hopkins developed an intense live show to support the release, resulting in club and festival performances across Europe and the United States. He secured supporting slots with The xx, Röyksopp, and Four Tet. Many of his live shows used background visuals featuring the animations of Vince Collins.
Insides charted at no. 15 on the Billboard Dance/Electronic Albums chart. PopMatters listed the album as one of the top ten electronic albums of 2009.
In June 2009 Hopkins was invited by Brian Eno to play some solo shows at the Luminous Festival at the Sydney Opera House. A few weeks prior to leaving, Eno asked Hopkins to join with himself, Underworld's Karl Hyde, Leo Abrahams, and the Sydney-based improv trio The Necks in the group "Pure Scenius", the planned finale for the Luminous Festival. They then improvised music based on pre-planned themes, putting on three 1½-hour shows in the Opera House with Hyde on vocals. Pure Scenius was repeated a year later in Brighton, when Eno was curating the Brighton Festival.
In 2009 Hopkins collaborated with Brian Eno and Leo Abrahams to score the Peter Jackson film The Lovely Bones. In early 2010 Hopkins composed the score for the short film Rob and Valentyna in Scotland directed by Eric Lynne, which won an honourable mention for the short film-making award at Sundance. Also in 2010 Hopkins was commissioned to create the soundtrack for the British science fiction film Monsters, which was directed by Gareth Edwards. To create the score, Hopkins partly used string parts performed by arranger Davide Rossi and guitar by Leo Abrahams. The soundtrack album was released on 29 November 2010 on Domino Records. In 2011 the score was nominated for an Ivor Novello Award for Best Original Score.
Hopkins collaborated with Tunng on the EP Seven Gulps of Air in 2009, which was commissioned by designer Christopher Kelly for London Fashion Week. Seven Gulps of Air was listed as one of Drowned in Sound's singles of the year. In 2010 Hopkins collaborated with Leo Abrahams and Brian Eno to create the album Small Craft on a Milk Sea. Released on Warp Records in late 2010, the album is based on a three-week session of improvisation wherein the artists recorded about six hours of material a day.
In 2011 Hopkins collaborated with Scottish musician King Creosote to create the album Diamond Mine, which featured lyrics and vocals by Creosote sung over musical backdrops arranged and recorded by Hopkins. The album was a culmination of about seven weeks of work spread over seven years of recording and collaboration, from whenever the two artists had the opportunity to get together. The album was released on 28 March 2011 to acclaim, which included a glowing review from NPR. On 19 July 2011 Hopkins and Anderson were announced as nominees for the 2011 Barclaycard Mercury Prize, which is annually awarded for best album from the United Kingdom and Ireland.
Also in 2011, the EP Honest Words, a Hopkins collaboration with King Creosote, was released on Domino Records. In April 2012, this was followed by another collaboration with King Creosote: The Jubilee, also on Domino. Hopkins wrote the score for the 2013 film by Kevin Macdonald, How I Live Now.
Immunity is Hopkins' fourth studio album, released on 4 June 2013, by Domino Records. Among the artists that contributed vocals were long-time collaborator King Creosote, and Corin Roddick and Megan James of the band Purity Ring. It was recorded and produced in Hopkins' London studio, with Hopkins often using homemade sound effects or the natural sound of the room. Stated MixMag, "Immunity is an album of organic techno and exquisite mini-symphonies."
Immunity peaked at no. 13 on Top Electronic Albums by Billboard in the United States. In Britain it was nominated for the 2013 Mercury Prize for best album. The album met with a largely positive reception among critics, receiving perfect scores from Mixmag and MusicOMH, and 4/5 from The Guardian. Pitchfork Media described Immunity as a "remarkably visceral, sensual, confident electronic record," and MusicOMH called it a "modern classic". The video for the single 'Open Eye Signal' directed by Aoife McArdle won best cinematography at the UK Music Video Awards.
In 2014 Hopkins co-produced the song "Midnight" for Coldplay's 2014 album Ghost Stories, and released an EP titled Asleep Versions on 10 November. The EP includes (according to Domino Records) "four decelerated, dreamlike re-imaginings" of four tracks featured on his album Immunity. The EP has additional vocals from Raphaelle Standell-Preston of the band Braids & regular collaborator King Creosote, and artwork from Robert Hunter.
Hopkins has performed at music festivals such as Moogfest, Mutek, Beacons Festival, and Electric Zoo, and at venues such as Madison Square Garden and the London O2 Arena. As of 2014 he maintains a regular touring schedule both in England and internationally, playing at the Glastonbury Festival in June, with upcoming dates at the Pitchfork Music Festival, Electric Picnic and Time Music Festival and in 2015 at Wonderfruit in Thailand for the premiere of the iy_project, a collaboration with light artist, Chris Levine.
Style a
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The Oxford Dictionary’s definition of opalescent neatly summarises the debut album from musician, Jon Hopkins. The classically trained artist has always taken his style of electronic music to a new level, preferring to experiment with the sounds of the Earth rather than sounds of a computer program. From an interview in 2013, Hopkins detailed the pain staking process of recording "weird little sine wave blips" from a water pipe in his hotel bathroom. This attention to detail in Hopkin’s music creates an alluring humanity to his creations. As the definition of ‘Opalescent’ suggests, the emotion swings throughout record. Hopkins takes the album from moments of pure ecstasy to sobering depths. The eerie howling winds of ‘Fading Glow’ contrast strongly with the calming ocean sounds of ‘Elegiac’. These moods presented by Hopkins creates something greater than the music itself, igniting all the senses into a state of hazy meditation. It is little surprise he has scored the music for various film and theatre performances throughout his fascinating career.
Jon Hopkins - Opalescent (flac 240mb)
01 Elegiac 6:21
02 Private Universe 5:36
03 Halcyon 5:01
04 Opalescent 2:09
05 Lost In Thought 6:17
06 Fading Glow 6:57
07 Apparition 2:02
08 Inner Peace 4:50
09 Cerulean 3:54
10 Grace 4:14
11 Cold Out There 3:53
12 Afterlife 4:00
xxxxx xxxxx xxxxx xxxxx xxxxx
With the arrival of 'Contact Note' some years after the debut of 'Opalescent', it would be fair to say that this second album by Jon Hopkins is both slightly ambient and mixed with a different approach to drumming and percussion. It's a good album but takes more than a few listens to get into. Whereas his first album is a work of extremely pleasing guitar loops and acoustic samples mixed with laid back electronica, 'Contact Note' is different and that's not a bad thing, it's just a different approach to drumming and percussion but similar with it's approach to music overall. Not as obviously nice but a slightly more serious and interesting production. Still a very good album overall but takes a little longer to get into.
Jon Hopkins - Contact Note (flac 329mb)
01 Circle 5:48
02 Second Sense 5:13
03 Contact Note 7:47
04 Searchlight 2:16
05 Symmetry 5:12
06 100 6:00
07 Glasstop 2:43
08 Sleepwalker 4:34
09 Reprise 3:14
10 Nightjar 7:31
11 Black & Red 5:25
12 Luna Moth 5:38
xxxxx xxxxx xxxxx xxxxx xxxxx
This album is heart-wrenching, you can count on Hopkins to do that to you. It touches on something hidden inside, cuts too close to the heart to deal with it casually. Right from the quivering strings in the opening The Wider Sun, the music stops everything and pulls your heart out. If the moment isn't right, of course, you must resist and switch it off. It's not for everyone, every day. It's definitely not an easy listening. But when the time's right and you venture *inside*, it serves as a perfect vehicle to get you there, to face your inner demons, emotional states, whatever they might be. The production is immaculate, detailed, layered, you drown in the synths. It feels like a narrative to get you through your emotional core, it goes through darker turns, heavy-hitting tracks like Colour Eye mercilessly rinse every little drop of residue sweetness, like a weird childhood memory that suddenly pops into your consciousness from somewhere deep within, or perhaps a memory of your first heartbreak. At other times, the tracks simply touch you for their sheer beauty, the sunlit warmth that fills up the desolate space, carrying you through the worst to the safety on the other side, whispering soothingly to facilitate your heart's recovery, its newly found strength, having gone through the worst with you, now seeing you off onwards and upwards. That's the resolution point, track 9, A Drifting Up, perhaps the only reason to give this a listen. So, yes, it's definitely not for everyone. If you don't know this, looking for reasons to listen to this, do so. It speaks with understanding to the part in you that usually stays hidden and it knows it well. takes its cues from ambient electronica, but uses strings and piano, along with some very tasty beats and dubstep-influenced bass on some tracks." Jon's sense of timing, the clarity of his production, and the variety of effects he employs draw you into the story that each instrumental tells. Jon Hopkins is not a button-pushing man of presets; he is a bona fide composer and a trained pianist. Craftsmanship sets him apart, and allows Insides to be as incredibly moving as it is and always will be. one of the best electronic albums of 2009.
Jon Hopkins - Insides (flac 290mb)
01 The Wider Sun 2:35
02 Vessel 4:42
03 Insides 4:38
04 Wire 4:41
05 Colour Eye 5:11
06 Light Through The Veins 9:18
07 The Low Places 6:35
08 Small Memory 1:41
09 A Drifting Up 6:27
10 Autumn Hill 2:40
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Monsters is rather patient, yet quite explorative with its ambience. This almost gives definition to ambient music, in that it twists what little it offers your ear, because they know that it's all they need to do. There isn't a moment that isn't enjoyable, it feels like one big song, and the replay value is at 1800's gold-level. I think most of it works better in the context of the film, it sounds kind of meandering and formless by itself (what made it such a good score to Monsters movie, one IDBM reviewer wrote that it very strongly enhanced the movie experience on a side note this score was mostly a freebee because there was no budget at all). On the other hand, Monsters Theme is fucking amazing.
Jon Hopkins - Monsters (flac 153mb)
01 Prologue 1:14
02 Journey 2:52
03 Candles 2:28
04 Water 1:18
05 Underwater 2:00
06 Spores 1:47
07 Campfire 2:36
08 Dawn 1:58
09 Attack 1:57
10 Temple 2:30
11 Encounter 5:49
12 Monsters Theme 4:55
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Brian Eno's best recordings are timeless. Small Craft on a Milk Sea regains the timeless, ageless feel of his best ambient work. Opener, "Emerald and Lime," is a piece of bright ambience -- as close to a Starbucks soundtrack as a stereotypical Eno work can get. The title track has the dark textures of the later ambient works (Ambient 4: On Land), while the middle section has nods to contemporary electronic music -- "Flint March" is pummeling, percussive techno, and the next track, "Horse," also indulges -- then it's back to opaque, spacious ambience with "Calcium Needles" and "Emerald and Stone." Here too, some tracks have the earthy bass of Ambient 4: On Land, others the formless but inviting void of Discreet Music, still others the heart-stopping piano isolationism of the original Ambient 1: Music for Airports. Eno may be trading on his earlier developments in ambience to a small degree, but Small Craft on a Milk Sea is a good and proper balance of curiosity and expression.
Brian Eno, Jon Hopkins, Leo Abrahams - Small Craft On A Milk Sea (flac 275mb)
01 Emerald And Lime 3:04
02 Complex Heaven 3:07
03 Small Craft On A Milk Sea 1:51
04 Flint March 1:58
05 Horse 3:04
06 2 Forms Of Anger 3:17
07 Bone Jump 2:24
08 Dust Shuffle 1:56
09 Paleosonic 4:27
10 Slow Ice, Old Moon 3:27
11 Lesser Heaven 3:23
12 Calcium Needles 3:27
13 Emerald And Stone 2:14
14 Written, Forgotten 3:57
15 Late Anthropocene 7:54
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Today's Artist is a British electronic producer who meticulously constructs lush arrangements, blending digital beats and soothing ambience. His unique, hypnotic style made him a sought-after producer in the pop world, and earned him credits on albums by Coldplay, Massive Attack, Brian Eno, and Herbie Hancock in the late 2000s. Starting out as a gifted child pianist, in his teen years he became interested in synthesized sounds and started making acid house and drum'n'bass on a four-track recorder using computer software. Meanwhile .. ........N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Jon Hopkins was born in 1979 in Kingston upon Thames, Surrey and grew up in nearby Wimbledon. He first became aware of electronic music after hearing early house music on the radio at the age of seven or eight, and also became a fan of Depeche Mode and the Pet Shop Boys. These records inspired an early fascination with synths. At the age of 12 Hopkins began studying piano at the Junior Department of the Royal College of Music in London, where he continued until age 17. The composers that were greatly influential to him whilst studying were Ravel and Stravinsky, and he eventually won a competition to perform a concert of Ravel's Piano Concerto in G with an orchestra. For a time Hopkins considered becoming a professional pianist, only to decide classical performance was too formal and unnerving to pursue full-time.
As a teenager he also listened to acid house, early hardcore, grunge, as well as electronica artists such as Acen, Seefeel, and Plaid. When Hopkins was 14 he got his first computer, an Amiga 500, and started programming MIDI material. By the age of 15 he had saved up enough money from winning piano competitions to buy a low-level professional Roland synth, and on this he began creating his first full-length electronic compositions. After finishing his final exams at age 17, Hopkins accompanied his friend Leo Abrahams to an audition for Imogen Heap's backing band. Hopkins decided to audition as well, and was hired to handle both keyboard and samples, while Abrahams was hired as guitarist. He toured with the new band for the entirety of 1998.
In 1999 Hopkins signed with boutique London label Just Music as a solo artist, and began recording his debut album Opalescent. At the time he was also working part-time as a studio session musician Opalescent attracted positive press attention upon its release, and several tracks were licensed to Sex and the City. The Guardian reviewed it as "a beautifully realized debut. Using synth oozes, phased and echoed guitars and pianos and chilled beats, his wonderful tunes drift from calm to eerie power like a restless sea. It will delight any lovers of beautiful music." DJ Magazine gave it 4/5 stars, and stated "Piano, guitar strings and slow beats blend like the clouds at sunset (or an opiate smoothy) filtering in and out like elegantly wasted beauty. Darker drums add a further depth."
Hopkins released his second album, Contact Note, on Just Music in 2004 while still working as a studio musician. The album slowly gained an underground following but failed to take off, and led Hopkins to become disillusioned with his solo career, and take a break from writing to learn how to become a producer.
By 2004, Abrahams had been collaborating for some time with ambient musician and producer Brian Eno. Abrahams played some of Hopkins' second record for Eno, and Eno invited him to join them for a jam session. On the first day of their collaboration they came up with some of the music for Eno's upcoming album Another Day on Earth, and Hopkins became a long-term collaborator. Shortly afterwards Hopkins produced King Creosote's album Bombshell, which initiated his relationship with the Fence Collective. He also co-wrote tracks with DJ and composer David Holmes for Holmes' Holy Pictures album, and remixed for James Yorkston.
In early 2007 Hopkins was invited by Eno, who was producing Coldplay's upcoming album Viva la Vida or Death and All His Friends, to join the band in the studio for a day. Hopkins ended up staying and contributing to the album for the next year, co-producing several tracks and playing organs, harmoniums, and other keyboard instruments on others. The intro to the track "Violet Hill" came from an improvisation with Hopkins and Davide Rossi, the album's string arranger. Throughout this period Hopkins was periodically creating his own solo tracks, and his song "Light Through the Veins" was adapted to serve as the introduction to the album's first track "Life in Technicolor". "Light Through the Veins" was also picked by the band to serve as the backing for the track "The Escapist", which is hidden at the end of the album. Viva la Vida was released in 2008, and won Best Rock Album at the 2009 Grammy Awards and became the best-selling album of 2008. Coldplay asked Hopkins to serve as the pre-show DJ and opening act for their 2008 world tour. Hopkins toured with the band for six months through England, the United States, and Japan. He performed at venues including Madison Square Garden and the London O2 Arena, with crowds as large as 20,000 people.
In 2008 Hopkins was commissioned by choreographer Wayne McGregor to compose music for Entity, a production of McGregor's "Random Dance" group. Entity was performed live at Sadler's Wells in April 2008 to critical acclaim. A world tour followed throughout 2008 and 2009.
Hopkins also has co-writing or producing credits on albums by artists such as David Holmes and Dan Arborise. He is also known for remixing a variety of artists, including Wild Beasts, Nosaj Thing, Imogen Heap, Four Tet, and James Yorkston. He was also one of the few producers chosen by Radio 1's Rob Da Bank to remix film director David Lynch's first electronica release, "Good Day Today" / "I Know", which was released on Sunday Best Records.
Hopkins signed to Domino Records in late 2008. Hopkins's third album, Insides, was released by Domino Records on 5 May 2009. It included the track "Light Through the Veins", which had previously been used on the Coldplay album, Viva la Vida or Death and All His Friends. Some of the tracks had been written by Hopkins sporadically since his last release, while others were based on the music he had composed for the Entity production. Hopkins developed an intense live show to support the release, resulting in club and festival performances across Europe and the United States. He secured supporting slots with The xx, Röyksopp, and Four Tet. Many of his live shows used background visuals featuring the animations of Vince Collins.
Insides charted at no. 15 on the Billboard Dance/Electronic Albums chart. PopMatters listed the album as one of the top ten electronic albums of 2009.
In June 2009 Hopkins was invited by Brian Eno to play some solo shows at the Luminous Festival at the Sydney Opera House. A few weeks prior to leaving, Eno asked Hopkins to join with himself, Underworld's Karl Hyde, Leo Abrahams, and the Sydney-based improv trio The Necks in the group "Pure Scenius", the planned finale for the Luminous Festival. They then improvised music based on pre-planned themes, putting on three 1½-hour shows in the Opera House with Hyde on vocals. Pure Scenius was repeated a year later in Brighton, when Eno was curating the Brighton Festival.
In 2009 Hopkins collaborated with Brian Eno and Leo Abrahams to score the Peter Jackson film The Lovely Bones. In early 2010 Hopkins composed the score for the short film Rob and Valentyna in Scotland directed by Eric Lynne, which won an honourable mention for the short film-making award at Sundance. Also in 2010 Hopkins was commissioned to create the soundtrack for the British science fiction film Monsters, which was directed by Gareth Edwards. To create the score, Hopkins partly used string parts performed by arranger Davide Rossi and guitar by Leo Abrahams. The soundtrack album was released on 29 November 2010 on Domino Records. In 2011 the score was nominated for an Ivor Novello Award for Best Original Score.
Hopkins collaborated with Tunng on the EP Seven Gulps of Air in 2009, which was commissioned by designer Christopher Kelly for London Fashion Week. Seven Gulps of Air was listed as one of Drowned in Sound's singles of the year. In 2010 Hopkins collaborated with Leo Abrahams and Brian Eno to create the album Small Craft on a Milk Sea. Released on Warp Records in late 2010, the album is based on a three-week session of improvisation wherein the artists recorded about six hours of material a day.
In 2011 Hopkins collaborated with Scottish musician King Creosote to create the album Diamond Mine, which featured lyrics and vocals by Creosote sung over musical backdrops arranged and recorded by Hopkins. The album was a culmination of about seven weeks of work spread over seven years of recording and collaboration, from whenever the two artists had the opportunity to get together. The album was released on 28 March 2011 to acclaim, which included a glowing review from NPR. On 19 July 2011 Hopkins and Anderson were announced as nominees for the 2011 Barclaycard Mercury Prize, which is annually awarded for best album from the United Kingdom and Ireland.
Also in 2011, the EP Honest Words, a Hopkins collaboration with King Creosote, was released on Domino Records. In April 2012, this was followed by another collaboration with King Creosote: The Jubilee, also on Domino. Hopkins wrote the score for the 2013 film by Kevin Macdonald, How I Live Now.
Immunity is Hopkins' fourth studio album, released on 4 June 2013, by Domino Records. Among the artists that contributed vocals were long-time collaborator King Creosote, and Corin Roddick and Megan James of the band Purity Ring. It was recorded and produced in Hopkins' London studio, with Hopkins often using homemade sound effects or the natural sound of the room. Stated MixMag, "Immunity is an album of organic techno and exquisite mini-symphonies."
Immunity peaked at no. 13 on Top Electronic Albums by Billboard in the United States. In Britain it was nominated for the 2013 Mercury Prize for best album. The album met with a largely positive reception among critics, receiving perfect scores from Mixmag and MusicOMH, and 4/5 from The Guardian. Pitchfork Media described Immunity as a "remarkably visceral, sensual, confident electronic record," and MusicOMH called it a "modern classic". The video for the single 'Open Eye Signal' directed by Aoife McArdle won best cinematography at the UK Music Video Awards.
In 2014 Hopkins co-produced the song "Midnight" for Coldplay's 2014 album Ghost Stories, and released an EP titled Asleep Versions on 10 November. The EP includes (according to Domino Records) "four decelerated, dreamlike re-imaginings" of four tracks featured on his album Immunity. The EP has additional vocals from Raphaelle Standell-Preston of the band Braids & regular collaborator King Creosote, and artwork from Robert Hunter.
Hopkins has performed at music festivals such as Moogfest, Mutek, Beacons Festival, and Electric Zoo, and at venues such as Madison Square Garden and the London O2 Arena. As of 2014 he maintains a regular touring schedule both in England and internationally, playing at the Glastonbury Festival in June, with upcoming dates at the Pitchfork Music Festival, Electric Picnic and Time Music Festival and in 2015 at Wonderfruit in Thailand for the premiere of the iy_project, a collaboration with light artist, Chris Levine.
Style a
xxxxx xxxxx xxxxx xxxxx xxxxx
The Oxford Dictionary’s definition of opalescent neatly summarises the debut album from musician, Jon Hopkins. The classically trained artist has always taken his style of electronic music to a new level, preferring to experiment with the sounds of the Earth rather than sounds of a computer program. From an interview in 2013, Hopkins detailed the pain staking process of recording "weird little sine wave blips" from a water pipe in his hotel bathroom. This attention to detail in Hopkin’s music creates an alluring humanity to his creations. As the definition of ‘Opalescent’ suggests, the emotion swings throughout record. Hopkins takes the album from moments of pure ecstasy to sobering depths. The eerie howling winds of ‘Fading Glow’ contrast strongly with the calming ocean sounds of ‘Elegiac’. These moods presented by Hopkins creates something greater than the music itself, igniting all the senses into a state of hazy meditation. It is little surprise he has scored the music for various film and theatre performances throughout his fascinating career.
Jon Hopkins - Opalescent (flac 240mb)
01 Elegiac 6:21
02 Private Universe 5:36
03 Halcyon 5:01
04 Opalescent 2:09
05 Lost In Thought 6:17
06 Fading Glow 6:57
07 Apparition 2:02
08 Inner Peace 4:50
09 Cerulean 3:54
10 Grace 4:14
11 Cold Out There 3:53
12 Afterlife 4:00
xxxxx xxxxx xxxxx xxxxx xxxxx
With the arrival of 'Contact Note' some years after the debut of 'Opalescent', it would be fair to say that this second album by Jon Hopkins is both slightly ambient and mixed with a different approach to drumming and percussion. It's a good album but takes more than a few listens to get into. Whereas his first album is a work of extremely pleasing guitar loops and acoustic samples mixed with laid back electronica, 'Contact Note' is different and that's not a bad thing, it's just a different approach to drumming and percussion but similar with it's approach to music overall. Not as obviously nice but a slightly more serious and interesting production. Still a very good album overall but takes a little longer to get into.
Jon Hopkins - Contact Note (flac 329mb)
01 Circle 5:48
02 Second Sense 5:13
03 Contact Note 7:47
04 Searchlight 2:16
05 Symmetry 5:12
06 100 6:00
07 Glasstop 2:43
08 Sleepwalker 4:34
09 Reprise 3:14
10 Nightjar 7:31
11 Black & Red 5:25
12 Luna Moth 5:38
xxxxx xxxxx xxxxx xxxxx xxxxx
This album is heart-wrenching, you can count on Hopkins to do that to you. It touches on something hidden inside, cuts too close to the heart to deal with it casually. Right from the quivering strings in the opening The Wider Sun, the music stops everything and pulls your heart out. If the moment isn't right, of course, you must resist and switch it off. It's not for everyone, every day. It's definitely not an easy listening. But when the time's right and you venture *inside*, it serves as a perfect vehicle to get you there, to face your inner demons, emotional states, whatever they might be. The production is immaculate, detailed, layered, you drown in the synths. It feels like a narrative to get you through your emotional core, it goes through darker turns, heavy-hitting tracks like Colour Eye mercilessly rinse every little drop of residue sweetness, like a weird childhood memory that suddenly pops into your consciousness from somewhere deep within, or perhaps a memory of your first heartbreak. At other times, the tracks simply touch you for their sheer beauty, the sunlit warmth that fills up the desolate space, carrying you through the worst to the safety on the other side, whispering soothingly to facilitate your heart's recovery, its newly found strength, having gone through the worst with you, now seeing you off onwards and upwards. That's the resolution point, track 9, A Drifting Up, perhaps the only reason to give this a listen. So, yes, it's definitely not for everyone. If you don't know this, looking for reasons to listen to this, do so. It speaks with understanding to the part in you that usually stays hidden and it knows it well. takes its cues from ambient electronica, but uses strings and piano, along with some very tasty beats and dubstep-influenced bass on some tracks." Jon's sense of timing, the clarity of his production, and the variety of effects he employs draw you into the story that each instrumental tells. Jon Hopkins is not a button-pushing man of presets; he is a bona fide composer and a trained pianist. Craftsmanship sets him apart, and allows Insides to be as incredibly moving as it is and always will be. one of the best electronic albums of 2009.
Jon Hopkins - Insides (flac 290mb)
01 The Wider Sun 2:35
02 Vessel 4:42
03 Insides 4:38
04 Wire 4:41
05 Colour Eye 5:11
06 Light Through The Veins 9:18
07 The Low Places 6:35
08 Small Memory 1:41
09 A Drifting Up 6:27
10 Autumn Hill 2:40
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Monsters is rather patient, yet quite explorative with its ambience. This almost gives definition to ambient music, in that it twists what little it offers your ear, because they know that it's all they need to do. There isn't a moment that isn't enjoyable, it feels like one big song, and the replay value is at 1800's gold-level. I think most of it works better in the context of the film, it sounds kind of meandering and formless by itself (what made it such a good score to Monsters movie, one IDBM reviewer wrote that it very strongly enhanced the movie experience on a side note this score was mostly a freebee because there was no budget at all). On the other hand, Monsters Theme is fucking amazing.
Jon Hopkins - Monsters (flac 153mb)
01 Prologue 1:14
02 Journey 2:52
03 Candles 2:28
04 Water 1:18
05 Underwater 2:00
06 Spores 1:47
07 Campfire 2:36
08 Dawn 1:58
09 Attack 1:57
10 Temple 2:30
11 Encounter 5:49
12 Monsters Theme 4:55
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Brian Eno's best recordings are timeless. Small Craft on a Milk Sea regains the timeless, ageless feel of his best ambient work. Opener, "Emerald and Lime," is a piece of bright ambience -- as close to a Starbucks soundtrack as a stereotypical Eno work can get. The title track has the dark textures of the later ambient works (Ambient 4: On Land), while the middle section has nods to contemporary electronic music -- "Flint March" is pummeling, percussive techno, and the next track, "Horse," also indulges -- then it's back to opaque, spacious ambience with "Calcium Needles" and "Emerald and Stone." Here too, some tracks have the earthy bass of Ambient 4: On Land, others the formless but inviting void of Discreet Music, still others the heart-stopping piano isolationism of the original Ambient 1: Music for Airports. Eno may be trading on his earlier developments in ambience to a small degree, but Small Craft on a Milk Sea is a good and proper balance of curiosity and expression.
Brian Eno, Jon Hopkins, Leo Abrahams - Small Craft On A Milk Sea (flac 275mb)
01 Emerald And Lime 3:04
02 Complex Heaven 3:07
03 Small Craft On A Milk Sea 1:51
04 Flint March 1:58
05 Horse 3:04
06 2 Forms Of Anger 3:17
07 Bone Jump 2:24
08 Dust Shuffle 1:56
09 Paleosonic 4:27
10 Slow Ice, Old Moon 3:27
11 Lesser Heaven 3:23
12 Calcium Needles 3:27
13 Emerald And Stone 2:14
14 Written, Forgotten 3:57
15 Late Anthropocene 7:54
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4 comments:
Excellent! I've been hoping for some Jon Hopkins ever since discovering the amazing King Creosote. Thanks!
Thanks for Jon Hopkins, Rho. Very talented individual.
Dear Rho:
I haven't dropped by your blog in several weeks, but I saw I missed this post from +1 year ago and I wanted to ask if you could upload it together with this other post (http://rho-xs.blogspot.com/2018/02/rhodeo-1806-sundaze.html).
Thank you very much.
T.S.
Thank you, Rho. I am planning on spinning some later today. By the way, I sent you an email two weeks ago.
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