‘An Open Invitation’ - TOM And His Computer’s ‘Future Ruins’
The progression of technology is often thought of as an obviously good thing. Processing power becomes faster and more compact. Battery life ever increasing in efficiency. The new iphone comes out with a second, third, (fourth?) lens with which to take better photographs, making it easier to do something that decades ago was so difficult. Similarly in technology surrounding music production and reproduction there can be a case of "out with the old". But there is something to be said for using old technology in new and exciting ways, especially in the world of music. Enter Thomas Bertelsen who, under the name TOM And His Computer has created a masterful hybrid of music using technology both old and new in an album called 'Future Ruins'.
Image Credit: Morten Germund
A culmination of two years work, Future Ruins is co-produced by fellow Copenhagen musician Anders Trentemøller whose In My Room label is also responsible for releasing this debut album. Not only has TOM And His Computer supported Trentemøller on tour in the past, they have also DJ'd alongside each other. By way of a musical compass for the more Western listener, TOM And His Computer has also supported Massive Attack during their visit to Copenhagen in 2016.
Future Ruins opens with an instrumental entitled 'A77'. Soft synth pads contrast with a lower distortion in the background which increases in waves throughout the track. The dystopian sounds could be video game music, but I think that's a narrow-minded view. It's easily to label an instrumental as soundtrack music. In truth, this is something else entirely - the beginning of a journey.
'Lovers And Gasoline' takes that instrumental in an unexpected direction, the record now sounds like a band performing together. The constant down-picking of guitar begins with heavenly synths behind it. The guitar and the drums create a driving beat together while the synths explore the soundscape. This one features previous collaborator Roxy Jules who appeared on TOM's 'Playing In The Night' EP, released in 2017. Jules performs the vocal heard here and also penned the lyrics. Her light and delicate tone wouldn't work with this combination on paper, but in practice it's perfect. Though Future Ruins as a whole largely features just the talents of Bertelsen and Trentemøller, this one has additional instrumental performers with guitars by Lisbet Fritze and Jacob Høyer, with bass by Silas Tinglef.
Image Credit: Morten Germund
'Feathers' continues the band tone which also features Silas Tinglef on drums. The production on the drums has been carefully chosen to suit this music, the snare drum sounding like a gunshot in an empty theatre. The extra handclaps remind of me of something Soft Cell would use, though more devastating here. Roxy Jules is again featured as vocalist and co-writer. Jules' lyrical contributions are mostly unclear in pronunciation, but that doesn't matter. The addition of Jules makes you feel like you're both running and floating at the same time. The synthesizers are anthemic in their expansive tone, allowing this piece to be played in both clubs and in a more traditional live environment.
The sound is pulled back for 'Waterfronts'. The beat is more casual with a digital ring to it. Guitar picking is welcome in an electric sound that isn't heavy, but is just given a slight buzz to it. More melodic elements create a tapestry of audio behind that whilst more guitar is added. This is the first real glimpse of what this production pair are capable of without outside assistance...
...and continues with 'Our Man In Toronto'. Where guitar dominated the previous track, this one is all about synth sounds. The sparse beat in the shape of a heart has a curious reverb on it like it's dripping into water. The steadiness of this whole track is a welcome departure from the more involved songs earlier on in the album. The title here, combined with the music certainly conjures up imaginative scenarios.
The title track and lead single of this album once again features Roxy Jules on vocals. The drum accompaniment is underpinned by a metallic bassline, further in the distant is a breeze of synth - this is the clearest Jules' vocal appears on this album so far. The drawn-out delivery of the vocal allows for a minimal amount of lyrical content, though in these few lines there is still a story to be told. The entirety of the lyric reads:
'I’ve seen love fade from lovers eyes and dew evaporate at sunrise. Future ruins you said. That morning when she left your bed. Future ruins. Future ruins. Future. Dissolvable in water, disappearing down vibrant streets dressed like the night’s beautifully troubled daughter. Future ruins. Future.'
The cinematic music video of Future Ruins plays out a short film over the course of the song with added sound effects to pull you further in. Difficult to explain but undeniably beautiful, it solicits multiple viewings. Directed by Martin Garde Abildgaard, his previous work includes the video for 'Organ', one of TOM And His Computer's earlier works on his 'Small Disasters' EP.
Released later in 2020, 'Puzzle' is the second single and more upbeat than the former. Despite featuring the sound of Lovers And Gasoline, this doesn't feature the additional musicians that helped shape that song. Bass and guitar are prominent, but as Puzzle progresses, it's clear the synth is the lead instrument keeping the melody between verses. Jules paints a picture with her lyrics, this time there is room for more of them, 'I know a place, fine white sand is swirling up into the air, reminding me of pulverised bones, while tiny shadows are moving like secrets on the cobblestones.'
Directed by Benitha Vlok, this video produced in grainy monochrome is a depiction of busy city life with many shots on public transport. Interspersed with brief moments of concert footage, it's unclear whether these are from a TOM And His Computer show or not. My favourite shots are the ones made using the tilt-shift technique - essentially making everything in the frame look like a miniature model.
Image Credit: Morten Germund
Future Ruins is rounded out by three instrumentals, beginning with 'Computer Solidarity'. The lullaby-esque synth lead is a spot of beauty as discord rises in the background. This gives way to a pitch-shifted synth blended well with guitar. The steady beat is unsettling, making the listener feel stalked, before returning to the lullaby synth first heard at the beginning of the piece.
'Fabel' is an unexpected waltz, with a tuneful synth line while a rhythm keyboard assists in the 3/4 timing with the drum beat. Whilst this track does indeed stand-out in its difference to the rest of the material, it doesn't stick out like a sore thumb. It still exhibits the same tone as the other parts of Future Ruins with the instrumentation.
Completing the journey is 'Disbelief In A Postmodern World'. The droning introduction begins to cease with a sound that could be keyboard or guitar. The pattern is unclear, but the beat is kept with a bass drum. This sound reminds me of the experimental instrumental pieces present on Nine Inch Nails' 'The Fragile'. The tapping could be on a thick pipe in an industrial basement. The build-up is slow, and the title given to this piece encompasses all you hear within it - which finishes abruptly.
1. Your album is named 'Future Ruins' after the lead single, what about this title ties together all these songs?
'Future Ruins' is a reference to the fact that all things will eventually pass away and become “ruins”, but at the same time it’s an open invitation to enjoy the things that are here and happening right now.
2. You said you've used literature to help generate ideas in your mind, what books have inspired the works on 'Future Ruins’?
Hmm.. actually, it could be everything from a rather odd conspiracy book about the alleged UFO crash in Nevada, Brutalist Architecture to Stefan Zweig’s novel “The Royal Game”. I like to dig into a book and make the attempt to do the soundtrack for it. Even just a book title can sometimes inspire me. Especially the old Penguin books are my to-go-to source for inspiration.
3. As well as using books, you've also used photos, what photo has had the most profound effect on you during the making of 'Future Ruins'?
Here’s two specific pictures that I have used for inspiration - also attached is a screenshot from one of my Pinterest mood boards. Anything from bookcovers to graphic design can inspire me and I pin everything that triggers a feeling in me.
4. This album was two years in the making, is there a lot of sonic experimentation that remains unreleased from this time?
Yes, there’s a lot actually. Some tracks will see the light of day, while others will remain in the dark until one day my harddrive collapses, and they vanish and die.
Some ideas are better fitted for moving images, film etc. and maybe they can come to life that way. Time will tell.
5. The equipment you use on your recordings is both old and new, what's some of the older gear you've used on 'Future Ruins’?
I especially used old guitar pedals, SansAmp (1980’s), Roland Space Echo, Jupiter 4 Synth, Arp Odyssey, Korg Vocorder for grit, The Revox A77 Tape Recorder & Watkins Echo for saturation.
6. Roxy Jules provides vocals on a number of these tracks, what is it like to work with her in the studio?
She’s very easy to work with and I feel she has a perfect understanding about what kind of sound I’m looking for. She’s always very positive and crashes my studio with a big smile - even when she has hangovers - and that makes it even more enjoyable to work with her.
7. In terms of the lyrics Roxy provided on these tracks, did you create your instrumental backing first and then give it to her to write lyrics, or was it more collaborative?
I always make the music first and then send Roxy the raw sketches, once I feel there's an idea worth holding on to.
She will then write and record the lyrics (if she feels inspired haha). The tracks often change drastically once I add vocals. It’s a very interesting and crucial step in the process. I love it but I also fear it.
8. 'Future Ruins opens with an instrumental called 'A77', where did that title come from?
A77 is the name / model of my old Revox reel tape recorder. A lot of the tracks were recorded to tape on the Revox and then recorded back to my computer. With this track, it was the first time I used my tape machine since I bought it many years ago and I wanted to salute my recorder by naming a track after it. It’s my way of saying: “I'm sorry to let you collect dust for so long, old friend".
9. I love the steady pace of 'Waterfronts', what inspired that track?
Ahh.. I remember exactly what triggered the idea for that track. The inspiration to ‘Waterfronts’ came directly from listening to the latest album by the Allah Las, “LAHS". I love the endless highway vibe they have going. Especially on the instrumental tracks. I wanted to capture that feeling, but in a more electronic way of course.
10. Co-production and mixes were by Anders Trentemøller, how did you two first meet?
I met Anders a long time ago. I was in a funk band and our bass player hijacked Anders to play keyboards in the band. Shortly after we both got annoyed with funk and we began making electronic music instead. We’ve been good friends ever since and we share the same taste and interest in music, studio gear, politics and sound.
11. The closing track of your album is called 'Disbelief In A Postmodern World', is that inspired by real events?
Not really. But the title itself raises questions, hence why I used it. There seems to be a lot of different meanings about what the term ‘Postmodern' really means.
I find that exciting. To me, the title means that, even if I can commit to the idea of modernism - I still have an underlying disbelief in what comes (or came) after. It basically means that I have disbelief in how the world is right now.
12. Are there any plans for you to tour this album in the future with Roxy Jules or a full band?
Yes, once we can see an end to this Corona thing, I will go back and play live gigs again. I'm working on setting up a three piece band constellation.
I can’t wait to get back at it!!
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Find TOM And His Computer on facebook @tomandhiscomputer, @tom_and_his_computer on instagram, and on twitter @tomandcomputer.
