“My psych told me to make a note of every time I had negative thoughts so

I just wrote down a * on a piece of paper. I guess it's the same for this project... I'll only write when there's shit going on.

When I actually have something to say.”

 

After releasing Tin almost 3 years ago to the day, Nearly Oratorio (AKA Simon Lam) is back with

his third EP A Comforting Fact.

In addition to Nearly Oratorio, Lam is one half of internationally renowned group Kllo, signed to Ghostly International and PIAS.

He works regularly on production and engineering with other well-known artists such as Allday, Japanese Wallpaper, Kite String Tangle, Jack Grace, Elliott, Charlie Lim, amongst others.

Nearly Oratorio is the musical project that allows Lam to take mental refuge from his other,

more serious,music making.

 

Each song on A Comforting Fact is purposefully minimal, precisely produced and unapologetically honest. The release is scattered with exposed, intelligent and purposeful melodies and vocal harmonies that create entirely new tonal centres, which allow the compositions to propel

forward. Using of groove and implied rhythms, many of which can be felt but not heard, allowing the imagination of the listener to fill in the parts they feel should be there.

 

Drenched in the hiss of white noise, the first single, entitled ‘Juniper’,is purposefully minimal, layered precisely in its production;unapologetically raw and honest. The track is scattered with exposed and intelligent melodies and vocal harmonies that create entirely new tonal centres, propelling the simple progressions forward.

‘Juniper’ is “when you've hurt someone more than you believed you could, and no matter what you offer nothing will ever really make it up to them. The best you can do is not grab for them as you drift away from

each other”.

 

Steeped in a deep resentment and bitterness, Lam’s second single ‘Down To The Minute’ is arguably one of Lam’s most impassioned and affronted compositions to date.

The track demonstrates a masterful control of implied R&B and trap rhythms, an incredible playfulness in lyricism combined with sheer beauty in melody and harmony.

 “taking yourself out of the equation as a means for others to progress forward, and not caring about what it means for you.”

Lam explains.

​

B I Z Z A R R E

​

​

.

​

​

​

​