Quick thoughts: I am quite impressed with the sensitivities and skills of Richard Tyler when it comes to successfully putting together subtle tones, drones, and effects to create a theme of peace and moving the soul's waters towards The Calm. His ambient compositions are strongly recommended. Expect an Old School feel, the way electronic music artists did things 25 years ago. Tyler does employ some 21st century tools but I kept feeling like I had a classic reissue playing. Nice job Richard.
Fathoms is of course a nautical unit of depth measurement. It is an appropriate moniker for this release. Four movements; "Fathoms" 21:38, "Deep Blue Circle" 20:41, "Shiny Stones On The Bottom" 16:55, and "Surface Becomes Earth" 14:28, each transport the listener from shoreline to the depths back up for air, then on to the submarine trenches, past unseen aquatic dimensions, and finally back up for air, to rest in sunlight and surf.
Tyler nods his recording head to Danna and Clément in using environmental sounds to set the scene. After surf and intermittent gull we descend beneath the surface to drift down on Peter Michael Hamel-ish or Klaus Schulze-ian, olde school, church organ-ish, endless dronings, Leslie-effected, warped, treated and done so well. Low-end, huge synth tones persist, Mid-range, Roach-like chimed tones randomly occur circa Structures from Silence's "Quiet Friend". This weave of sound is subdued, low-key, looped, erratic but restful in its effect, fade in to more surf sounds then another "descent".
Strange echoes come and go, wordless vox samples, (Spectrasonic's Symphony of Voices), create a sense of mermaids calling, leading the way to the depths. That rapping, a hollow echo depicts sound waves distorted by liquid, patterns of the above are random, relaxing as usual with Tyler, holding your attention for what may come next. Deep drones hold fast throughout, the sense of drifting down, floating into immense voids prevalent gestalt here. Whooshing sounds come late in the track, a mystery unfolding? But no, we are then carried to next track with no answers or clues.
A tubular, hollowed-out, drone-tone fades in. That tunnel-driven synth form oscillates slowly, descending into lower octaves. Background drones remain, grouped in patterns that hold pretty constant. Slight melodic pattern is followed by mid-range synths. A denser weave of multi-tracked dronings is present here. Most tone patterns descend with very little upper register wanderings. This automatically soothes and relaxes the brain, neurons firing less, serotonin levels creating mind-ease. A warbling, wave-like, water-effect distortion is evident here in drifting tones. Bubblings and odd echoes presage whale songs that are done better than most other cetacean recordings I have heard. It is tasteful, subdued, distant, and like being there within 100 feet of them versus standing near an aquarium view-tank with loud-speakers. Tyler achieves a dreamy aquatic realism. Whale songs soon pass and a short drone space similar to track intro becomes the outro. Fade out to final track.
As if it is now time to resurface wordless vox samples, (Spectrasonic's Symphony of Voices), again create a sense of mermaids saying farewell, you are leaving the depths. Sound forms used in track one return as if one is passing back through realms formerly traveled. The Peter Michael Hamel-ish keyboards come awarbling and expertly mutated by Tyler for the ascent. Mermaid vox comes and goes in that erratic pattern used so effectively earlier. Organ synths fade, ethereal voices continue to fade-out and the surf with gull cries signals journey's end. Fade out all sound.