If you’re familiar with Low End Theorists then you’re probably already well aware of Sydney’s Low Flung aka Danny Wild. For a number of years, the visual artist and composer has been at the forefront of the city’s underground scene, earning a reputation for delivering expansive and immersive soundscapes ranging from ambient and minimalism to dub techno, often across a single release.
His latest full length Oil in the Mangroves, released as part of Bedroom Suck Records’ Private Eyes series, is nothing short of a masterclass in ambient music. Constructed during lockdown, the 40-minute, 2 track LP involved Wild recording drones, field recordings and modular synthesiser improvisations onto tape or his DAW. Continually repeating the process until modulating sounds emerged—something Wild has described as "imitat[ing] my life over the past few months; a constant blur of repetition"—a fully fledged, genuinely spellbinding LP emerged.
As well as being a prolific musician, Wild is also an avid digger and selector whose knowledge of local music is unmatched—check out his KNOTS radio show series on Skylab as proof—so it’s very exciting to have him contribute to Low End Theorists. His playlist, featuring Aussie acts including Lisa Lerkenfeldt, Troth and Knitted Abyss, covers some of the music he’s had on repeat these last few months and more specifically the sounds that informed his latest LP, both sonically and conceptually. You can check them out via the Buy Music Club playlist below and read our chat with the Sydney artist while you’re there.
Low Flung - Oil in the Mangroves in out now via Bedroom Suck Records - you can stream and buy it here.
Were there any particular albums or artists that influenced you during making Oil in the Mangroves, and if so, in what way?
There is always something playing at my house, it all informs what I do in some way. I enjoy listening to tapes in my kitchen, records in my lounge room and mixes in my car. From the top of my head lets say, Kitchen = YL Hooi tape on Altered States Tapes, Horse MacGyver tape on Nice Music. Lounge = The Kinks - The Village Green Preservation Society, Jack DeJohnette - Zebra. Car = anything on the c minus Soundcloud.
What were some of the main challenges you faced during the recording?
I feel like the problem for anyone who makes electronic music is getting the right balance. The never ending challenge of finding the sweet spot between not enough and too much. This record was no exception.
What in your opinion is the ideal place or setting to listen to the album?
Somewhere comfortable and warm
A bed
A couch
A patch of grass in the sun
A seat with a view
Having breakfast
On a bluetooth speaker at a quiet beach or camping somewhere remote.
What are some of the things outside of music that have helped you during lockdown and isolation?
Video games have helped me through the darkest of times. For COVID it was (and is) online multiplayer game “Call Of Duty: Modern Warfare”. That and having a nice backyard really helped.