Omnia in Omnibus, a Latin phrase for “All in all,” is 6 tracks of synthpop, synthwave, and downtempo ethnotronica. It’s a return to the new wave musical influences that got me interested in music in the first place. What it sounds like: 1980s New Order and Art of Noise, with 1990s Orbital and The Orb, plus a healthy dollop of 2000s synthwavery.
About the Title
In keeping with the theme of my Latin album titles, “Omnia in Omnibus” refers to the mental preoccupation with, the constant need to get my hands on, and the perennial struggle to spend time on, music. Because when I’m not making music, I’m dreaming of making music. When I’m not at my music production computer, I’m itching to get back to it at every free moment. It’s a hobby, but also an obsession. And much more for me, it’s a vehicle for communicating what I cannot put into words.
Behind the Album
How did the album come about? Everyone has a 2020 origin story. Global pandemic. The need for sanity in a world where everything (and everyone) was going crazy. Focusing on this one thing: on making electronic music — on every note and every chord progression and every beat — this was what saved me from going mad. May sound poetic, but at certain times of the year, music was quite literally a saving grace and a blissful escape.
The Album’s Sound
New sound tools inspire new musical directions. In this case, a direction that nods toward the past since a lot of old school analog emulation software synths were used here. But also: I embraced my inner 80s music fan and stopped trying (and failing) to make modern-sounding music, choosing to focus on what I’m good at: creating melodic electronic music ripe with 1980s nostalgia.
Welcome to a past that never quite existed, but which you pine for with a wistfulness that is real.
Released April 2, 2021
All music production, sequencing, arrangement, and art: Lionel Valdellon.