Surprisingly his first release on the label, Callum Higgins Yes Blythe project arrives on Tombed Visions with double album featuring early, formative sound and installation pieces and a startling new album written entirely on a 1973 Fender Rhodes, showcasing both the genesis of the project and the entirely new boundaries he is now exploring. Yes Blythe’s music has always been intuitively inquisitive, charged with a sense of foreboding and disquiet. The plainly titled ‘Prepared Rhodes’ definitely has that in spades, but with a new found empathy, especially in the last two pieces which sound near song-like, Higgins slowly conjuring mellowed out and hushed melodies from the keys of the piano that blush against the tinkering and clank of the mechanics inside the Rhodes. What’s most interesting about this record, aside from its strides into sheer beauty, is Higgin’s use of editing and looping, especially on the previous three tracks, throwing the percussive experiments drawn from the Rhodes around the mix, experimenting with panning and precision cuts of sound. Its contrast with the formative sound experiments that make up ‘Unknown’ makes this first tape that much richer, but its greatest merit is showing that Higgin’s is unafraid to take risks to further his own journey into sound, its nakedness and directness a revelation when compared to his previous albums. That said, ‘Unknown’s value isn’t just founded in its comparison. The albums importance gives us the clear indication that Higgins was already very masterful at creating huge masses of sound, roiling with detail and menace but also rich in conception. The three long form pieces deal with how sound interacts with and is emboldened by space, a knowledge that Higgin’s has used to devastating effect in the live arena.
Thanks BN, it has been a busy few days so I haven't been able to get near to my computer. I have been playing music in my car though. I'll be off again for a few days as we are off to Paris to see the Tour De France final stage on Sunday, but back early next week.
It has been so hot here today, around 34C, so I have been playing some summer music, the last track was Kinks Sunny Afternoon. I hope someone does not suggest that we go back to Fahrenheit when we sadly eventually leave the EU, as I am now fully used to metric measures, temperature etc.
Comments
Surprisingly his first release on the label, Callum Higgins Yes Blythe project arrives on Tombed Visions with double album featuring early, formative sound and installation pieces and a startling new album written entirely on a 1973 Fender Rhodes, showcasing both the genesis of the project and the entirely new boundaries he is now exploring. Yes Blythe’s music has always been intuitively inquisitive, charged with a sense of foreboding and disquiet. The plainly titled ‘Prepared Rhodes’ definitely has that in spades, but with a new found empathy, especially in the last two pieces which sound near song-like, Higgins slowly conjuring mellowed out and hushed melodies from the keys of the piano that blush against the tinkering and clank of the mechanics inside the Rhodes. What’s most interesting about this record, aside from its strides into sheer beauty, is Higgin’s use of editing and looping, especially on the previous three tracks, throwing the percussive experiments drawn from the Rhodes around the mix, experimenting with panning and precision cuts of sound. Its contrast with the formative sound experiments that make up ‘Unknown’ makes this first tape that much richer, but its greatest merit is showing that Higgin’s is unafraid to take risks to further his own journey into sound, its nakedness and directness a revelation when compared to his previous albums. That said, ‘Unknown’s value isn’t just founded in its comparison. The albums importance gives us the clear indication that Higgins was already very masterful at creating huge masses of sound, roiling with detail and menace but also rich in conception. The three long form pieces deal with how sound interacts with and is emboldened by space, a knowledge that Higgin’s has used to devastating effect in the live arena.
http://monrakplengthai.blogspot.com/2014/09/naang-naang-le-ywei-sin-tei-mya.html?m=1
From good old Guvera
Marconi Union - Beautifully falling apart
followed by
Joni Mitchell - Blue
It has been so hot here today, around 34C, so I have been playing some summer music, the last track was Kinks Sunny Afternoon. I hope someone does not suggest that we go back to Fahrenheit when we sadly eventually leave the EU, as I am now fully used to metric measures, temperature etc.
ETA: Oh, by the way @greg , this was not meant as a comment on Britain (or should we say England ?) leaving the EU.
Sam Minaie - bass
Qasim Naqvi - drums
Brahim Fribgane - oud, percussion, vocals
Houman Pourmehdi - ney, daf, tonbak
Shelley Thomas - vocals
Pedro Eustache - berber flutes