In a world where true polymaths seem to become the exception rather than an expected norm, it’s good to see some artists embracing multiple strands of art to weave a complex narrative. Of all the ever-evolving ambient-adjacent producers out there, Danish musician and visual artist Paw Grabowski aka øjeRum might just be the most prolific, both in terms of output and reinvention. Known for his ruminating ambient work that spans multiple (sub-)genres and intricate collages, he has become a household name in contemporary ambient composition – and for good reason. While many of his releases share a common mood and art direction, none of them are ever quite the same, aesthetically and sound-wise. This reliable unpredictability makes his body of work so engrossing.
Having had the pleasure of working with him in the past, we are delighted to premiere his latest release, the four-track LP Four Scenes of Superimposed Innocence, due out in full on Friday, March 20. The concept is rather obvious: four songs, four scenes, all tying into the broader theme of the recording. Judging from the titles chosen by øjeRum for this project, there’s a strong level of abstraction at play here. This is further enhanced by the four pieces of collage artwork created alongside the music, all representing one piece of this musical quadriptych through the use of classical iconography and daring contrasts.
“Her Skin Was a Nameless Sky” opens Four Scenes of Superimposed Innocence with a hefty slice of dub techno, throwing abstract morsels of melody at a steadfast dance beat. These twelve minutes are spent in an almost meditative state of dancefloor-ready repetition, merging the humid bodily exaltation of the club with a pensive tone not often struck in that context. The following “The Hound’s Eye Flickers in a Dream” strikes a similar balance, but with more urgency and an addictive bass line thrown in for good measure. Vocal samples and synth melodies unfurl from the beat-hewn bedrock, giving this track a more palpable atmosphere than its predecessor.
From there, “A Light Carried by the Dead” presents the logical synthesis of the two previous tracks, merging a strict beat with ambient explorations. Which brings us to the finale, “The Ceremony of Wordless Beasts”. I’m really loving the evocative titles chosen for the individual songs; they add whole new layers of possibility to the potent ambiance of the record. While I’m not sure whether these tracks are meant to be alluring or menacing, I’m quite intrigued by their ambivalent aesthetic. This 10-minute closer caps off proceedings nicely, placing crystalline shards of synth melodies onto another vibrantly pulsating beat.
Four Scenes of Superimposed Innocence is peak øjeRum in its embrace of another new medium for the man to leave his mark on. Ambient techno is usually very autumnal in sound, but this record works in these budding first days of Spring pretty well; perhaps it’s the contrast of somber and elating elements that leads me to this conclusion. Both visually and musically, this new LP is a striking piece of danceable ambiance by a master composer within the broader field of ambient music.
As I mentioned earlier, Four Scenes of Superimposed Innocence will see its proper release this Friday. The digital drop will be accompanied by the opportunity to snag a beautifully crafted vinyl edition that comes in a smoky pink color variant. Pre-orders for both options are available via Bandcamp or the official Roman Numeral Records store. Be sure to leave øjeRum a follow on social media (Facebook | Instagram) to keep up to date with his work beyond this release cycle.
