Time: 60 min.
Style: Ambient Techno
Jonathan Julian "Jon" Hopkins (born 15 August 1979) is an English producer and musician who writes and performs electronic music. He began his career playing keyboard for Imogen Heap, and has produced or contributed to albums by Brian Eno, Coldplay, David Holmes and others. Hopkins composed the soundtrack for the 2010 film Monsters, which was nominated for an Ivor Novello Award for Best Original Score. His third solo album, Insides, reached no. 15 on the Dance/Electronic Album Chart in 2009. His collaborations on Small Craft on a Milk Sea with Brian Eno and Leo Abrahams and Diamond Mine with King Creosote both reached no. 82 on the UK Albums Chart. In 2011 Diamond Mine was nominated for a Mercury Prize, which is annually awarded for best album from the United Kingdom and Ireland. Immunity was also nominated for the 2013 Mercury Prize. 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.
On March 6, 2018, Hopkins announced that his 5th studio album "Singularity" would be released on May 4, 2018 via Domino Recordings. Speaking about the album, Hopkins told Exclaim!, "Now that Singularity is done, I can look back on it, and it's almost like some sort of living thing that's purifying itself over the course of that hour. By the time it gets to the end, it's in the exact opposite place, and yet it ends with the same sound — the infinite simplicity of that one note. I like that idea."
Format: CD, 2 x LP
Time: 60 min.
Style: Ambient Techno
Jon Hopkins is playing perfect. That much is clear as soon as “Singularity,” the lead and title song on his first album since 2013’s Mercury Prize-nominated Immunity, shivers into being. A ferrous wasteland of synthesizer overhung by evaporated strings and guitar merge into a remarkably complete sonic landscape — the land and sky of a new world, with its own alien physics, its own genesis and apocalypse. Hopkins keeps hanging these strange planets in wobbly orbits throughout Singularity, forming a universe that pulses with deep consciousness and a sense of endless discovery. Hopkins was known as a hired hand for Coldplay, Brian Eno, and Imogen Heap, with a sideline in tasteful IDM records until Immunity promoted him to noted techno auteur. Like that breakthrough, Singularity is a beat-music odyssey pitched between acid house and introspective ambient bliss, constant change and eternal return, sublunary and sublime. It also combines many other opposites into thrillingly unstable wholes. The producer’s distinctive techno is coarse and granular, as if electricity were a solid you could grind in a mill, yet it flows in a graceful stream. It squelches like muck and shines like crystal. It beats like a body, but it moves like a mind. Singularity begins with a three-song voyage through a realm that’s recognizable from Immunity epic “Open Eye Signal,” one where much of the rhythm occurs in negative space. For a techno producer, Hopkins has a counterintuitive way of treating sound as something huge and immobile, then scything crop circles into those heavy frequencies to create a sense of motion. His beats are blanks, and his tracks feel unbound from the metronome. “Emerald Rush” climbs a ladder of Laraaji-like arpeggios and mountainous chord changes to some hidden summit of consciousness. The track features additional drum programming by Clark, another tailor of the fabric of spacetime—something Hopkins turns inside out at the drop on “Neon Pattern Drum" (*Review by Brian Howe ).Discogs , Download