“In Yorkshire’s embrace; Creation through listening’s grace; Endless roots; No bounds.” The credo of Yorkshire Modular Society a.k.a  Dominick Schofield and one that absolutely sums up his approach as an artist dedicated to electronic music in all its marvellous forms. For his latest output Fiery the Angels Fell, the Yorkshireman has settled on ambient soundscapes as his investigation of choice but it is all part of a long and winding musical journey that has seen his credentials fully tried and tested.

Schofield spent the best part of his youth learning classical piano – grounding himself in the basics, while also indulging his other burgeoning musical needs by playing tuned and untuned percussion. As a teen, it wasn’t long before the indie world came calling with Schofield starting to find his way into the world of the electronic while still at school. He went as far as signing a record deal, even found himself on stage at Glastonbury. But this first attempt at fame was short lived as Schofield did a volte-face, opting to ditch life on the road in favour of studying Sound Art and Design instead. This, in turn, led to his first proper beats-oriented venture, Oxynucid, which is still going strong after two decades. But where Oxynucid has an electro-acid, techno sensibility with, it must be said, some ambient tendencies, Yorkshire Modular Society is ambient and ambient alone. Currently active on Bandcamp, Yorkshire Modular Society is a subscription-oriented endeavour whereby Schofield  releases an hour’s worth of untitled music every week. It’s quite a surprise, therefore, that he has now decided to release an album ‘proper’ replete with an actual title.

Fiery the Angels Fell is a longform ambient soundscape that is exceptionally subtle and delicate in its synth-led notation. There have been comparisons to the music of Blade Runner and Akira - the dark sound of a nihilistic future and dystopian landscapes, but actually what we find on Fiery the Angels Fell is sixty minutes of modular synth created to both nurture and soothe, while providing a feeling not of dread (as we might expect) but of complete transcendence.

It is in fact Schofield himself who gives the most appropriate description of his music and what he is trying to achieve – sonic experimentation at the forefront. “LFOs, like elusive shadows, guide the listener through a maze of sonic intrigue,” says the musician. “Within the depths of digital tape modules, time unravels and reconstitutes, casting a veil of uncertainty over the sonic landscape. Reverb and delay wash over the senses like urban decay.”

This may be an exploration of sound, but it is performed with such delicacy and nuance that we realise instinctively that this is a musician who understands the instrument to which he is dedicated. There is no up and down in mood, no change in tempo, no sonic surprise - this is ethereal ambient music that falls just shy of deep listening but nevertheless manages to set you on another plane. Beautiful. Listen here.