Give Me Monaco is the project of Oxford based composer and producer Leigh Redding. Today he releases the debut album called From the Coral to the Grey which centres around the concept of regeneration and exchange. 8 track which show the well-built liquid electronic lines, the percussive rhythms and the ambient subplot in a few tracks.

According to the press release, The 8 tracks take different constructive experiences that all lead to a developed result, which by themselves focus on a discerning, singular aspect. By engaging with each element of this larger body of work, Redding has tried to concentrate on reduced points that when combined build a larger result. The album is a direct reflection and evaluation of personal experiences.

‘When you are given a task of such mammoth proportions in life, it can be easy to let that task become a behemoth to your world. This happens so often in the ordinary everyday it has become the norm. When you pick apart the pieces and study each aspect on an individual level, this is when things start to fall into place and become synonymous with routine.’From the Coral to the Grey’ is an audio account of fracturing these accepted practices.

Glitching beats coupled with warm pads and reverberated synths sit alongside organic percussion and ethnic instrumentation. Redding strives to design sounds from a variety of sources, whether analogue in origin they take a new ‘regenerated’ form once fed through effects and digital manipulation, yet structured in a familiar setting.’

Listen below and check a playlist from the composer with tracks and artists which inspired his music.

Seekae – Void. I first heard Seekae when they released ‘The Sound of Trees Falling on People’ and was instantly hooked on their combination of a multitude of styles and characteristics. They have such a distinctive sound, I only listen to their records when I know I can listen to them in full from start to finish. Spell binding creations.

Tycho – Montana. I was instantly drawn to the guitar elements of Tycho’s work. I found it exciting that these two worlds I found myself in at the time of discovering him (guitar based bands and electronic production) being meshed together. It was also very unique to me. His style wasn’t the result of an indie electronic mashup, all the elements lend perfectly to the overall result of his productions.

Gidge – You. Gidge are an act I always crave more from in terms of releases, but that would probably ruin the genius behind their music. I heard Autumn Bells after a recommendation from a friend and it’s been a staple ‘go to album’ ever since.

Throwing Snow – Lumen. I came across Throwing Snow a bit later on in his career, around the time of the Axioms Ep. One thing I’ve always admired about his releases is the way he changes his approach and style with each one. Personally, I constantly struggle with the confidence to stick to what I like. I can convince myself to ditch a whole body of work upon completion if I let my thoughts get the better of me. It appears effortless to Throwing Snow to chuck releases around that sound exactly how he wanted them to at the time of writing. I think that in itself is an art.

Lapalux – Gutter Glitter. What’s not to admire about the work of Lapalux. Amnioverse is truly sublime! Gutter Glitter was my introduction to his work and I’ve followed his output relentlessly ever since.

Luke Abbott – Modern Driveway. I used to live in a small cottage in the middle of nowhere with a very good friend. Such was its rural location there was not a lot to do. Myself and Mark used to sit and listen endlessly to music in this freezing lounge with as many electric heaters as we could get our hands on as the heating didn’t work. It was around this point that I discovered Luke Abbott’s Modern Driveway and I think between us we amassed an incredible amount of plays. Still some of his best work to my ears.

Nathan Fake – Paean. I discovered Nathan Fake around the same time as Luke Abbott and his album ‘Steam Days’ is still completely mind blowing to me. I am always enthralled by Nathan Fake’s ability to create something completely unique but you can immediately tell it’s his work.

Rival Consoles – 3 Chords. I will always remember hearing the ‘Odyssey’ Ep and literally thinking ‘Wow’. No one sounds like Rival Consoles. More importantly Rival Consoles isn’t trying to sound like anyone else. His work is constantly unique. His approach to his sounds, incorporating almost broken arp elements and playing with live results of synthesizers is sublime. This is a real example of a composer who has sat down and learned every aspect of their chosen instrument.

Kiasmos – Drawn. Kiasmos have an almost addictive predictability. I don’t mean this in any way disrespectful. There’s a genuine beauty in being able to create a progression that instantaneously resonates with the listener. Almost like a shared memory. Aside from the structure their use of percussion in the rhythmic sections are so powerfully delicate.

Forest Swords – The Highest Flood. The ‘Dagger Paths’ Ep and ‘Engravings’ Lp were both releases I listened to on repeat. Every day without fail for a solid month. And then ‘Compassion’ came along and I think one of the best albums in the electronic genre for the past 10 years was released.