Michael Begg and Roedelius — Two Gather in the Waiting Room

Michael Begg, the Scottish composer born in Edinburgh began experimenting with computer technology in around 2000, alongside Deryk Thomas. These early recordings would form the basis of the first Human Greed album and fire his career in music. Since then, he has formed Fovea Hex with Clodagh Simonds and he has worked on a number of commissions in the contemporary classical music field. For this project he has teamed up with kosmische legend and synth innovator, Hans-Joachim Roedelius, a bonafide legend of German experimental, progressive music. As part of Begg’s residency at Queen’s Hall, Edinburgh the two men were due to collaborate on a performance, however with the Covid situation and the subsequent lockdown meant they were unable to go ahead. Fortunately, the two men were able to continue their collaborative efforts remotely and the result of this union is Two Gather in the Waiting Room.

The album features five pieces of sumptuously beautiful, relaxing, ambient electronica that ooze class from the first note. Album opener "All Things in Place (Get Me There)" is an ethereal masterclass of dispersed piano tones and minimalism. Effortlessly simple, yet perfectly crafted. "Not Far Away, Further" is up next, opening to the Avant Garde strains of Aisling O’Dea and Julia Lungu’s violin playing, the track soon settles into more ambient keyboard lines and synth atmospherics, the later inclusion of Neil Cuthbertson’s trumpet and the re-emergence of the violins gives the track a different feel altogether. "The Favour" opens with some beautiful soaring arpeggiated synth lines that form the backbone of the song. This one has a nice upbeat vibe that sets it apart stylistically, from the rest of the album. This is followed by "Gratefully Indifferent", a straightforward atmospheric drone piece that wouldn’t sound out of place on a Radiophonic Workshop soundtrack. The final track is probably my favourite, the atmospheric and at times creepy, "A Liminal Moment" is filled with wonder and a sense of Folk horror otherworldliness that I simply adore.

Overall, the album is a masterclass in ambient electronics, at times beautiful and at others creepy, but always dripping in atmosphere. The tracks range in length from just over five minutes to almost ten minutes and never feel overlong, they don’t outstay their welcome and continue to wash over you in an extremely pleasant way. This is a great reminder of why I love ambient music.