London-based French composer Franz Kirmann, one half of Piano Interrupted, here returns to his electronic roots, weaving aspects of modern classical composition – samples and extracts – to create a post-ambient version of post-rock’s surges that border – always beautifully – on the emotionally overwhelming. They Drove All Night Only To Find Themselves Back Where They Started is the album’s centrepiece, at 10 minutes, and it builds to a breath-taking wave of sound which then washes back to find elements of Kraftwerk as it rebuilds for another surge.
Opening track, Dancing On The Edge of the Void, sets up the feel of the album with gentle treatments peeking in and around a soft synth backing, it’s reminiscent of some of Devonte Hynes’ soundtrack work, some of Cliff Martinez’s too – the early work for Steven Soderbergh and his recent Only God Forgives soundtrack.
Kirmann’s previous role as a film editor has clearly informed his work here.
But also That Day We Threw The Keys Out The Window has that iced charm – cool, never completely detached – of The Album Leaf and Where Did We Go Wrong has elements of Eno and Matmos.
Glider is Dev Hynes-esque once again and we get a groove-moment, mild though it is, across Excelsior.
For much of Meridians you could just be caught staring out the window – the perfect soundtrack all around you, Moby’s 18 album all grown up, both windswept and interesting. Lovely phrases, textures, hues, colours – all soft and lush and delivered with warmth even when there’s just a hint of chill to it; the closing You Fall In Love With Someone Else wraps up the album the way a good end credits cue ties together the perfect film score.