ORGAN THING: Bristol based experimental composer Tess Tyler has announced her debut album Fractals and released a rather impressive new single…

Tess Tyler (photo credit: Ania Shrimpton)

Organ Thing of the Day: Tess Tyler has a new single, Tess is a composer and artist based in Bristol, United Kingdom, Bristol seems to be the place this month, both sides of the single are rather beautiful, as is her previous release Stasis.

Here’s the hype via the press release, lazy of us I know but we have Five Points to get to, paint to sling, youve got the music up there, the press release down there, here’s the Bandcamp, what more do you need from us? We wouldn’t have posted any of it if we weren’t impressed. More when the just announced album comes out I should imagine…


Today, Bristol based experimental composer Tess Tyler has announced her debut album Fractals will be released on September 9th via Manners Mcdade. The project is a double album; LP1 presents the original neo-classical and experimental electronic explorations of Tess Tyler, LP2 is a once in a lifetime live recording of the Spindle Ensemble’s interpretations of the album’s graphic scores, designed by Tess, recorded at St George’s Hall in Bristol. The project has minimalist-style piano at its heart, complemented by evolving electronic soundscapes, complex meter, arpegic synths and expansive electric guitar.  Floating through delicate classical piano in one moment to bursting with booming, industrial ,hard-hitting beats the next. The album demonstrates a unique blend of gritty electronic textures and modern classical music with the album’s graphic scores at the heart of the project. 

To announce the double album, Tess is sharing both versions of lead single ‘Sell The Sky’ from LP1 and LP2. Tess’ original version of the track, found on LP1 and featuring Barney Sage, is made up of delicate, developmental piano lines and evolving electronic soundscapes that are accompanied by rhythmically complex drums and expansive electric guitar.  A contemporary exploration of complex metre and cinematic, yet minimalist technique. The track is about opportunism and narcissism as Tess explains “I once overheard two businessmen having a conversation in a coffee shop, where one said to the other,‘’…he would sell the sky if he could.’ I thought it was a really poetic way of saying, ‘he’s a liar, and only out for himself.’ For some reason, it really stuck with me. This track is a reflection of how someone might experience engaging with a toxic person.” The release of the track comes with a dark visual recording of the ‘Sell The Sky’, recorded at St George’s Hall in Bristol by Tom Martin from Band Studios. 
Version two of the track is Spindle Ensemble’s version of ‘Sell The Sky’, a developing, avant garde take on the track with strings at its heart. This version is the product of the ensemble’s interpretations of the track’s graphic scores, which were designed by Tess. The accompanying score to the track is of a skyline / horizon that has been executed in a mechanical style “the imagery almost reminds me of a business report graph that you might find in a boardroom meeting!” add Tess. As a screen composer, Tess’ work is often linked to a visual narrative and she has always been a lover of studying graphic scores. Often when faced with creative pressure, Tess will turn to creating scores “It reminds me of the joy and lightness you can get from music, it doesn’t have to be serious all the time”.
Whilst this is Tess’ debut album, over the past decade, she has collaborated with the likes of electronic pioneerImogen Heap, Bournemouth Symphony Orchestra, The Budapest Art Orchestra, The Bratislava Symphony and more, with her work appearing on many orchestral scores showcased in concert halls across the United Kingdom as well as on video games such as LEGO® Marvel Avengers and indie hits including Human: Fall Flat. The year 2020, saw the release of Tess’ debut solo work with  Stasis: Five Sketches for Piano; a five track EP influenced by Phillip Glass and Steve Reich, whilst integrating her innate cinematic compositional style. Now she returns, with her most vulnerable and creatively free piece of work yet. 


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