New York Times
“Human,” an electronic instrumental by the Swedish composer Tomas Nordmark, has a meditative, nearly ambient foundation: sustained, consonant tones like distant horns. But the foreground is jittery, full of unpredictable, glassy tones that briefly hover, then disappear. Mood: inscrutable.
For an abundance of textures, check out Eternal Words by the Swedish-born, London-based composer Tomas Nordmark. Each track is a heavenly, palate-cleansing series of minty-fresh synthesised drones and bleeps that manage to tell stories that resolve without even hinting at melody.
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“Tomas Nordmark’s immersive electronic sculptures feel like time-lapse photos of technological decay.”
“Nordmark creates his own sonic language that relies heavily on textures, from the lacerating noise of “Words” to the jittery ambience of “Days” and “Speaking,” a blissful trip anchored by a bone-rattling celestial drone.”
“The passages are half barren, half emblazoned with spectral shapes, that dance like shadows in a dusky light, all the while keeping vivid tones peeking from the sidelines. The compositions are mildly minimal, yet yield to the allure of abstraction. Such is one of the more elusive tracks here, Future. It’s a space jazz locked in a time capsule returning to Earth from somewhere down the pike. ”