James Bernard
'Atmospherics'
'Atmospherics'
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PITP53 |
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ARTIST:
James Bernard ALBUM NAME: Atmospherics [30th Anniversary Edition] CATALOGUE NUMBER: PITP53 RELEASED ON: September 26, 2024 |
FORMAT:
Numbered 6-Panel Digipak 2xCD + download code Digital Download [at] pitp.bandcamp.com Streaming through all major digital streaming platforms DISTRIBUTION: Past Inside the Present D2C (US), Inner Ocean Records (CAN), Juno Records (UK), Phonica (UK), HHV (DE), Soundohm (IT), Tobira Records (JP), Linus Records (JP), Redeye (UK), A Thousand Arms (US), and others PUBLISHING: © 2024 Past Inside the Present ℗ 2024 Past Inside the Present Publishing (BMI) CREDITS: Written, recorded, and produced by James Bernard, 1994. Tracks 10-18 produced and reworked by Brock Van Wey (bvdub). Mixed and remastered at Ambient Mountain House by James Bernard, 2024. Design and layout by zakè |
about
James Bernard – Atmospherics [30th Anniversary Edition] (Past Inside the Present, 2024)
Past Inside the Present is proud to reissue James Bernard’s landmark 1994 ambient masterwork, Atmospherics, remastered and packaged with a brand new, track-by-track interpretation of the entire album by friend and collaborator, bvdub. While these versions are separated by an ocean of musical and technological change, together they form a cohesive image of adventurous musicianship, melodic and textural richness, and stylistic timelessness.
Originally issued by legendary UK imprint, Rising High – home of the seminal Chill Out or Die and Secret Life of Trance series, as well as early works by Luke Vibert, Pete Namlook, and many others – Atmospherics quietly earned cult classic status in an era when ambient music was just getting its legs as a cultural movement, and as a response to the burgeoning rave scene. Bernard himself was creating acid trance pieces under the names Influx and Cybertrax, but was “in a fragile state of mind, searching for [a] center, and many of these tracks began as meditative sketches to help with getting to sleep at night.” He hints at this in some of the album’s enigmatic samples, like on “Phosphorus”, where a narcotic, echoing voice repeats, “The most difficult thing I’ve ever tried to do, is to clear the mind.”
For Bernard, the creation of Atmospherics was an immersive process of self-instruction, discovery, and experimentation with comparatively minimal means. Using only a keyboard, sequencer, 12-bit sampler, drum machine, and bass guitar, he recorded each movement in real time, with no overdubs or edits. Because he was toggling sequences, tweaking synth and sample parameters, and playing bass concurrently with the DAT rolling, any misstep meant having to restart from scratch. Knowing this, complex, meticulously layered journeys like “Euph” and “Odyssey” become all the more impressive, as they push the limits of the tools of the era.
Bernard further notes, “Listening to the album now with fresh ears, I can remember how excited I was to explore different ways of shaping feelings into sound. Learning about synthesis and different audio production techniques, I was truly getting lost in it, and I’m still just as excited to learn about new modes of expression and creation.” Fittingly, across the 76 minutes of Atmospherics, the listener is taken through a constantly morphing world of lush, analog forms, mesmerizing arpeggiations, and fully-realized environments that were well ahead of their time.
One early disciple of the album was bvdub (aka Brock Van Wey), who discovered it by pure happenstance during his days as a DJ, when a copy arrived at his local house record shop by mistake. Van Wey was drawn in by the album’s aura, remembering, “From its black, monolithic, strangely endless physical form, to the infinite worlds within, I was hypnotized, transported, and altered. I knew I would never be the same again.” He still considers it the most important record in his musical history, and that deep love is the drive for this reissue’s second half: a full-length reenvisioning of the original.
The bvdub versions of tracks like “Helix” and “Lost In It” take the staccato elements of their source material, and explode them into reverberating nebulas with thick blankets of granular detail. He treats the spirit of each piece with the utmost care, while venturing into different dimensions and refractions with a trademark tinge of melancholy weight. In short, James Bernard’s Atmospherics gives us liftoff and the journey beyond Earth’s gravitational pull, while bvdub’s iteration offers us the Overview Effect, looking back on the fragility below with a sense of splendor and blissed-out majesty.
The two artists have now been friends for many years, previously collaborating on the album Departing in Descent (Past Inside the Present, 2022), so it was natural that Bernard would ask Van Wey to be a part of this very personal project. Van Wey was honored, stating, “Never did I dream that I, some random DJ kid making punk-ass raver music, would ever have the opportunity to work in this way with the most important ambient album ever made.” Atmospherics is a totem of his existence that has seen him through numerous transformations – both musically and geographically – and his treatments of these tracks pay homage to those decades in a fascinating, stereoscopic vision.
Van Wey summarizes, “Fear, ecstasy, exaltation, and millions of memories flood every rendition I made, telling the story of those thirty years all at once. I will never know how James managed to produce Atmospherics, but it doesn't matter. Throughout our friendship, I’ve learned how much of our personal histories, both in and outside music, basically amount to one life experienced by two people in different physical spaces, each unknown to the other.”
Past Inside the Present is proud to reissue James Bernard’s landmark 1994 ambient masterwork, Atmospherics, remastered and packaged with a brand new, track-by-track interpretation of the entire album by friend and collaborator, bvdub. While these versions are separated by an ocean of musical and technological change, together they form a cohesive image of adventurous musicianship, melodic and textural richness, and stylistic timelessness.
Originally issued by legendary UK imprint, Rising High – home of the seminal Chill Out or Die and Secret Life of Trance series, as well as early works by Luke Vibert, Pete Namlook, and many others – Atmospherics quietly earned cult classic status in an era when ambient music was just getting its legs as a cultural movement, and as a response to the burgeoning rave scene. Bernard himself was creating acid trance pieces under the names Influx and Cybertrax, but was “in a fragile state of mind, searching for [a] center, and many of these tracks began as meditative sketches to help with getting to sleep at night.” He hints at this in some of the album’s enigmatic samples, like on “Phosphorus”, where a narcotic, echoing voice repeats, “The most difficult thing I’ve ever tried to do, is to clear the mind.”
For Bernard, the creation of Atmospherics was an immersive process of self-instruction, discovery, and experimentation with comparatively minimal means. Using only a keyboard, sequencer, 12-bit sampler, drum machine, and bass guitar, he recorded each movement in real time, with no overdubs or edits. Because he was toggling sequences, tweaking synth and sample parameters, and playing bass concurrently with the DAT rolling, any misstep meant having to restart from scratch. Knowing this, complex, meticulously layered journeys like “Euph” and “Odyssey” become all the more impressive, as they push the limits of the tools of the era.
Bernard further notes, “Listening to the album now with fresh ears, I can remember how excited I was to explore different ways of shaping feelings into sound. Learning about synthesis and different audio production techniques, I was truly getting lost in it, and I’m still just as excited to learn about new modes of expression and creation.” Fittingly, across the 76 minutes of Atmospherics, the listener is taken through a constantly morphing world of lush, analog forms, mesmerizing arpeggiations, and fully-realized environments that were well ahead of their time.
One early disciple of the album was bvdub (aka Brock Van Wey), who discovered it by pure happenstance during his days as a DJ, when a copy arrived at his local house record shop by mistake. Van Wey was drawn in by the album’s aura, remembering, “From its black, monolithic, strangely endless physical form, to the infinite worlds within, I was hypnotized, transported, and altered. I knew I would never be the same again.” He still considers it the most important record in his musical history, and that deep love is the drive for this reissue’s second half: a full-length reenvisioning of the original.
The bvdub versions of tracks like “Helix” and “Lost In It” take the staccato elements of their source material, and explode them into reverberating nebulas with thick blankets of granular detail. He treats the spirit of each piece with the utmost care, while venturing into different dimensions and refractions with a trademark tinge of melancholy weight. In short, James Bernard’s Atmospherics gives us liftoff and the journey beyond Earth’s gravitational pull, while bvdub’s iteration offers us the Overview Effect, looking back on the fragility below with a sense of splendor and blissed-out majesty.
The two artists have now been friends for many years, previously collaborating on the album Departing in Descent (Past Inside the Present, 2022), so it was natural that Bernard would ask Van Wey to be a part of this very personal project. Van Wey was honored, stating, “Never did I dream that I, some random DJ kid making punk-ass raver music, would ever have the opportunity to work in this way with the most important ambient album ever made.” Atmospherics is a totem of his existence that has seen him through numerous transformations – both musically and geographically – and his treatments of these tracks pay homage to those decades in a fascinating, stereoscopic vision.
Van Wey summarizes, “Fear, ecstasy, exaltation, and millions of memories flood every rendition I made, telling the story of those thirty years all at once. I will never know how James managed to produce Atmospherics, but it doesn't matter. Throughout our friendship, I’ve learned how much of our personal histories, both in and outside music, basically amount to one life experienced by two people in different physical spaces, each unknown to the other.”
press
"James Bernard’s Atmospherics is one of the best ambient works of 1994. My favorite year in electronic music. Some of the most excellent ambient and trance during this time period and beyond. This album is widely known as one of the best.
Euph starts the CD with a deep, ominous and eerie beginning to what will be a wonderful trip into space. Complete Nonsense changes that. Your ship just went on remote auto pilot and you get redirected into a sci-fi interference like you landed on the wrong planet. Last minute of that song bridging to Helix sounds like Brian Eno Apollo release. Helix takes you out of harm’s way and back on your original mission. As it floats you about in awe it then cuts and Phosphorous begins to build. More eerie sci-fi melodics and voice samples like “it just won’t stop singing in my head” and “the most difficult thing I’ve ever tried is to clear the mind“. Acid line comes out over bassline nearly making this a trance track without the beat. Mars Rain is exactly how it sounds. As the song progresses the thunder sounds like bombs a little bit which makes the track even more eerie. Odyssey gives you time to reflect and recount your journey in your journal."
- Halcyon Days
✦✦✦
#2 0f 100 essential tracks of ambient-techno :: James Bernard 'Phosphorous' (Atmospherics)
- Electronic Music Culture
Euph starts the CD with a deep, ominous and eerie beginning to what will be a wonderful trip into space. Complete Nonsense changes that. Your ship just went on remote auto pilot and you get redirected into a sci-fi interference like you landed on the wrong planet. Last minute of that song bridging to Helix sounds like Brian Eno Apollo release. Helix takes you out of harm’s way and back on your original mission. As it floats you about in awe it then cuts and Phosphorous begins to build. More eerie sci-fi melodics and voice samples like “it just won’t stop singing in my head” and “the most difficult thing I’ve ever tried is to clear the mind“. Acid line comes out over bassline nearly making this a trance track without the beat. Mars Rain is exactly how it sounds. As the song progresses the thunder sounds like bombs a little bit which makes the track even more eerie. Odyssey gives you time to reflect and recount your journey in your journal."
- Halcyon Days
✦✦✦
#2 0f 100 essential tracks of ambient-techno :: James Bernard 'Phosphorous' (Atmospherics)
- Electronic Music Culture
biography
James Bernard is a California-based sound artist and audio engineer whose three decades in music have yielded some of the most notable ambient electronic works of our era, both as a solo artist and across an array of collaborations. With extensive experience as a product specialist for the likes of Korg, Propellerhead and Spectrasonics, he approaches his creations with a unique depth of technological prowess, suffusing every piece with well-crafted texture and rich tonality.
Bernard became obsessed by the sounds of the burgeoning video game industry of the 1980s and a fervent desire to understand the inner workings of their formulation. Though his early education was centered on trumpet and piano, and some of his first sessions behind the recording desk were for local hardcore and cover bands, he was turned on to circuits and synthesis by a friend who was a lead sound designer at Korg as a teenager. A concurrent discovery of rave culture, Aphex Twin, The Future Sound of London and the exploratory second side of David Bowie’s Low LP enriched a rapidly expanding perspective, and his first works took shape.
The landmark début, Atmospherics (Rising High Records, 1994), placed Bernard in the upper echelon of producers during the initial golden age of cerebral electronic composition. Its journey through spaced-out synth layers and disembodied vocal découpage landed with confident force, and many of its motifs and methods have been extrapolated and explored throughout the prolific discography that followed, leaving distinct sonic fingerprints on each entry.
With his considerable base of knowledge, and an evolving process born of intuition and improvisation, Bernard primarily uses standard and modular analog synths, TB-303 bass sequencer and – more recently – six-string bass guitar for its particular warmth and range. Adorned by a stable of effects and reverb, his output runs a gamut from the celestial to the terrestrial, all of it imbued with careful pacing and melodic mastery. Highlights include Atwater (A Strangely Isolated Place, 2019), Fragments (Past Inside the Present, 2019) and the acid-tinged a sliver of silver (self-released, 2022).
Bernard has also brought his aesthetics to a variety of collaborations – most notably with his wife Cynthia Bernard (aka marine eyes) under their moniker awakened souls, as well as on the album Departing in Descent with bvdub (Past Inside the Present, 2022) and efforts alongside The Album Leaf, zakè, Markus Guentner, and Mixmaster Mike (of Beastie Boys fame). In this spirit he likewise lends a keen and educated ear to his mastering work as owner and chief engineer at Ambient Mountain House, which specializes in the kind of subtlety and nuance that many studios often lack.
When out in the wider world, Bernard savors the benevolent and communal nature of live performance, and honors his lifelong love of sea otters with regular head-clearing expeditions to Otter Cove in Monterey.
Bernard became obsessed by the sounds of the burgeoning video game industry of the 1980s and a fervent desire to understand the inner workings of their formulation. Though his early education was centered on trumpet and piano, and some of his first sessions behind the recording desk were for local hardcore and cover bands, he was turned on to circuits and synthesis by a friend who was a lead sound designer at Korg as a teenager. A concurrent discovery of rave culture, Aphex Twin, The Future Sound of London and the exploratory second side of David Bowie’s Low LP enriched a rapidly expanding perspective, and his first works took shape.
The landmark début, Atmospherics (Rising High Records, 1994), placed Bernard in the upper echelon of producers during the initial golden age of cerebral electronic composition. Its journey through spaced-out synth layers and disembodied vocal découpage landed with confident force, and many of its motifs and methods have been extrapolated and explored throughout the prolific discography that followed, leaving distinct sonic fingerprints on each entry.
With his considerable base of knowledge, and an evolving process born of intuition and improvisation, Bernard primarily uses standard and modular analog synths, TB-303 bass sequencer and – more recently – six-string bass guitar for its particular warmth and range. Adorned by a stable of effects and reverb, his output runs a gamut from the celestial to the terrestrial, all of it imbued with careful pacing and melodic mastery. Highlights include Atwater (A Strangely Isolated Place, 2019), Fragments (Past Inside the Present, 2019) and the acid-tinged a sliver of silver (self-released, 2022).
Bernard has also brought his aesthetics to a variety of collaborations – most notably with his wife Cynthia Bernard (aka marine eyes) under their moniker awakened souls, as well as on the album Departing in Descent with bvdub (Past Inside the Present, 2022) and efforts alongside The Album Leaf, zakè, Markus Guentner, and Mixmaster Mike (of Beastie Boys fame). In this spirit he likewise lends a keen and educated ear to his mastering work as owner and chief engineer at Ambient Mountain House, which specializes in the kind of subtlety and nuance that many studios often lack.
When out in the wider world, Bernard savors the benevolent and communal nature of live performance, and honors his lifelong love of sea otters with regular head-clearing expeditions to Otter Cove in Monterey.
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