This is essentially a solo project by sound designer and electronic musician Michael Hammond. You might call it a synth-art-almost-pop record, hinting at 80's hit-makers without actually going there. Even with the Linn drums, there's nothing ironic going on in these lush, warmly produced pieces.The album opens with Icefisher, a gorgeous overture in which sweet chords dialogue with perfectly calibrated distortion before blending into the bobbing rhythm of City, the first song proper. Synths chatter and there's a big, melodic chorus, with Hammond's soft tenor mixed down to join the track as another texture. There's a diffuse quality to Hammond's music, as if he listened to the radio through the wall, half-remembered what he heard, and then tried to play it back using different instruments. This makes Negative Space all the more tantalizing as your mind works to resolve the blurred soundscapes. It's no surprise that he lists I Believe In You from Talk Talk's Spirit Of Eden as one of his favorite songs ever. That song is included in the Mixtape he put together for Q2, along with everything from Eno to Grieg and from Feldman to Scott Walker, providing a fascinating glimpse of his influences.Pretender has a pulsing beat and, in the corner of the mix, chiming Simple Minds guitar. On Sleep Atlas, he treats his voice heavily, crafting it into a sound not unlike Jon Hassel's cosmic trumpet. Eyesore broods along, with dramatic guitar flourishes, more Hassel-like vocals, and a chorus that opens up like the sun streaming through clouds. Firebride is half-song, half ambiance, like David Sylvian used to do, and there's even biting guitar and a touch of Popul Vuh's pastoralism - sheer beauty. The album ends with the even more ambient Seawall and the blissful meditation of Outside Of You. Negative Space is a great album and an extremely assured debut. I look forward to more.I also saw them live earlier in 2014: http://anearful.blogspot.com/2014/08/sunday-night-all-right-at-baby.html#.VJ3mosABA