Kentucky based duo The Warm Jets are made up of Chris Boss (guitar) and Jason Lamoreaux (The Currupting Sea, synthesizer, guitar). Their collaboration began at a dinner and transformed into a debut release. The duo released their debut album Here We Come via Somewherecold Records on September 15th. It’s an imaginative album consisting of eight dreamy and meditative tracks. 

We wanted to find out a little more about the duo so we asked them what three albums have influenced them and their music. Based on their band name, we had an idea but we wanted to hear it from them. Below are their picks.

The album is available via Bandcamp here.

Both – Brian Eno: Music for Airports

It is difficult to get away from the fact that Brian Eno looms large in the background of any ambient artist’s work, influences, or, at the very least, as a progenitor of the genre and therefore an influence whether one likes his work or not. Clearly, The Warm Jets is a name we picked in homage to the ambient master and Music for Airports holds a special place in his catalog for the both of us. Luminous and patient, Eno teaches the listener something about how wide music can feel, how spaces in between notes are as important as the notes themselves, and how deconstruction is as much a part of beauty as controlled melody. We love the meditative atmosphere Eno creates. We love it because inside it resides a lack of fear. It doesn’t need to be the center of attention. But it has something to say to each of us. And the beauty of it is that we’re still learning what it says to us 30 years after my first listen.

Chris – Gastr del Sol: Upgrade and Afterlife

I guess I’ve always been intrigued by music that would be deemed strange, off-kilter, even weird. I remember being taken aback in the late 1990s when I heard a record that brought together experimentation with bursts of melody. Gastr del Sol’s Upgrade and Afterlife captivated me. To listen is to follow along without any clear sense of where you’re going, to be amused by a whistling tea kettle one moment and a spaghetti western style horn arrangement in another moment, and then to be mesmerized by a John Fahey cover.

When Jason and I were planning the recording now known as Here We Come, I was initially at a loss on where my structured guitar lines would fit with his sonic collage. Bringing a pop guitar sensibility to an ambient/experimental situation felt like attempting to cross an ocean on a pink unicorn float. But then I remembered Upgrade and Afterlife. I listened to it a couple of times over the time it took us to record Here We Come, and I remember feeling encouraged to take that pop/melodic sensibility and let it coexist with the chaos.

Jason – Flying Saucer Attack: Flying Saucer Attack

I have always had FSA sitting in the background of everything I do whether it’s guitar or synth work on ambient albums. There’s a controlled chaos on FSA’s albums that inspires me to push myself toward sonic edges and play with the idea of allowing the music to take control rather than me. The self-titled really exemplifies David Pearce’s sense of ignoring lines, taking melodies and pushing them to their ultimate edges, and ignoring convention. ‘The Season Is Ours’ in particular influenced a lot of my own early work as an ambient artist and Pearce is forever engrained in what I do. With Chris as a writing partner, his guitar work really brought a certain structure to my chaos and I think it worked out beautifully, reigning in my tendencies to let my Pearce influences go a little crazy.

Pin It on Pinterest