Sleeping Man Records SMR005 – CD Time: 70:16
1) This Is The Kiss 2) Once Upon* 3) Song, Woman & Wine 4) Agoa 5) Like A Clock 6) Jonah 7) Get Together 8) The Dance* 9) The Big Lie* 10) Fifth 11) Technology 12) Noon 13) Nunca Jamás 14) Harmonics 15) Two Trains 16) Climbing 17) Amber Sky*
* – Not previously available as a studio recording
These are live recordings from a 2012 tour in support of Dickson’s album Quite A Way Away (and includes songs from his Collected Recordings CD, resissued by 12k) with concerts in Reims, Istanbul, including an apartment lobby in Caen, France. I reviewed Quite A Way Away in early 2012.
From the moment this album begins, it’s magic.
The deeply resonant chords, the natural reverberation, the open tunings and Gareth Dickson’s hushed voice all combine to create a captivating and magnetic sonorous atmosphere. Whether it’s gentle incantations, trance inducing vocal meditations or arpeggios this album is exquisitely gentle, yet curiously riveting and at times hypnotic.
There isn’t much more that I can say except buy it, and see if you can find the source of the album’s title.
CD: Darla DRL289 2014 Time: About 39 minutes
CD available at this link to Darla (To be released on September 9, 2014)
Tracks: Jane 12 through Jane 21 with track Jane 16 subtitled (For Pale Saints)
I took some time off from writing reviews; primarily to just take some time off, but also I have been awaiting preorders for a number of releases as well as getting more serious about making some music instead of just listening. It’s a hard road training old fingers to do new things, but it’s about the journey for me, not just the destination.
What a treat it is to return to a new album by Harold Budd (and I understand that another collaboration with Robin Guthrie has been recorded and will be released in early 2015, the title will be Another Flower). Jane 12-21 is another fine example of Harold Budd sitting at a piano (or other instrument) and just playing without rehearsal or embellishment, one take without revisiting and then moving on. There are some apparent treatments and minimal overdubs. It’s difficult for me to tell if the percussion is actual or keyboard-based sampling, but it does sound like actual percussion most of the time.
This album is simpler and less adventurous compared to Jane 1-11, and that’s not a criticism at all, just an observation. The cover design is also rather stark by comparison, with one panel by artist Jane Maru and minimal information about the tracks, recording and times, adding a bit to the somewhat mysterious nature of the album. Jane 1-11 was created in response to videos created by artist Jane Maru (which were later released as a companion CD/DVD: Budd Maru Collaboration ) so without the benefit of input from Harold Budd (so far), I wonder if Jane 12-21 was created as a response to further videos by Maru (see video for Jane 8 below).
The album contrasts between recordings that are intimate and those which are spatially broad, more distant (whether the distance and reverberation were achieved with actual spaces or electronically, I don’t know). To briefly describe each of the tracks on the album: Jane 12 is a stark and up-close, yet resonant piano with brief references to Debussy’s Clair de Lune. Jane 13 also uses a piano with light melodic percussion. After the first two tracks Budd moves to more experimental territory and Jane 14 consists of melodic percussion (bells, glasses) with reverb and has a very calming effect. Distance, like a dream on the edge of consciousness is how Jane 15 sounds, with hushed piano and a spatial reverb. Whether intentional or not, I do find some of the pieces referring back to other previous Jane 1-11 pieces. Jane 16 does this for me—reminds me of Jane 8. It’s placid keyboard chords with gentle piano accompaniment and minimal apparent treatments. The piano is responding to the chord movement of the keyboard.
Air moving through pipes is how Jane 17 starts, it’s a strong sound with treated piano and minimal percussion, and a pronounced flow and movement. Jane 18 bends and twists with a somewhat downcast sonorous keyboard. The melodic references to the first Jane series return with Jane 19, again keyboard and resonant chimes. It sounds a bit more reflective to me with shades of Budd’s earlier work.
Jane 20 has a breathy keyboard melody, somewhere between wind chimes and woodwinds along with a gamelan (at times sounding like vibraphone) and deep percussive overtones. This track more than any other in the series evokes a scene from a film with a vast landscape of mystery. Budd closes this collection with Jane 21, a modest and delicately resonant cross between piano and celeste and themes appearing in various other Jane tracks, making it part of the larger cohesive whole.
Harold Budd’s work takes me to a place where I like to be, and return there as often as I can. I think you’ll want to add this album to your collection.
…A Not-So Comprehensive List
2013 has been a quirky year; for a time I found that inspiration had vanished and I wasn’t interested in listening to music or writing about it at all (a rare occurrence). I’m guilty of having purchased less music this year (an economic curtailment of necessity). Nonetheless, there has been some great music in 2013 (and my slice is a tiny piece of what’s out there). This year I read some music-related memoirs by artists whose work I’ve admired for decades (Burt Bacharach, Neil Young, Michael Feinstein–of his time spent with Ira Gershwin and other books), some histories of Jazz Standards, Blues, Rock and Roll, and records labels (including one of my favorite indie labels, Merge Records). I was also fortunate to attend a number of live shows, and I’ve posted photos of some of those throughout the year.
Is it me or have record labels and artists reduced their output somewhat? Is it a lull in a normal cycle or a sign of the economic times?
Some of the music on this list will be familiar if you have checked-in to read my reviews and some I have not reviewed. I also have some albums I’m still listening to and I haven’t decided if I’ll write reviews for them (an archival release by The Books, La Luz’s first LP, Mary Lattimore and others). One album in particular that I’ve enjoyed recently (although it was NOT released this year) is a live archive solo recording of Neil Young at the Canterbury House in 1968 entitled Sugar Mountain—the album is mostly material that Young wrote or co-wrote with Buffalo-Springfield, and it was recorded right after Buffalo-Springfield broke-up.
A double live CD has also just arrived of one of the last (very lively hot Jazz) gigs played by the house band at Eddie Condon’s in New York City before it closed in 1985—One Night at Eddie Condon’s (Red “The Commodore” Balaban’s Condon Band), with Ed Polcer, Dr Palu Squire, Jack Maheu, Tom Artin, Bobby Pratt, Dave Shapiro and Danny D’Imperio, recorded by Doug Pomeroy)–thanks to Tom Artin for sending this great piece of Jazz history!
The Lucky 13 (all albums purchased–not promos)
Yellowbirds – Songs From The Vanished Frontier – Royal Potato Family: This is my favorite album of the year—just love it–the vibe, the sounds. Please see my June review.
Harold Budd – Jane 1-11 – Darla: The music with companion videos release won’t be available until early 2014, but another beautiful album from HB. I reviewed this album in June, as well.
John Scofield – Überjam Deux – Emarcy: I reviewed this album in August—an excellent follow-up to the original Überjam, and a great vibe with Jazz, Blues and more!
Steve Hackett – Genesis Revisited: Live At Hammersmith (CD/DVD) – InsideOut: As I noted in my review of last year’s studio release of Genesis Revisited II, I feel like Steve Hackett is the keeper of the spirit of the work of Genesis during the 1971 to 1977 era. So many of the earlier recordings (weak on the engineering and mix, except The Lamb) were greatly improved and enhanced, and this comprehensive 3 CD and 2 DVD set documents the fabulous and memorable Hammersmith show in May of 2013 before the band traveled to the US for their fall tour. The SH Band will tour further in support of this in the southeastern US and Europe and Russia is 2014 (bassist Lee Pomeroy will be replaced by Nick Beggs, a familiar face to Hackett Band fans…I really enjoyed Lee on this tour, he really brought out just how musical Mike Rutherford’s bass lines are in these earlier Genesis classics).
Wire – Change Becomes Us – Pink Flag: I was a big fan of Wire in the late 1970s and then I just plain lost touch with their work. The Words On Music label has a compilation of reinterpretations of their well-known single Outdoor Miner from their 1978 Chairs Missing album, and then I noticed a post earlier in the year by Marc Ostermeier (of the band Should ,and WOM and Tench labels) that a new album was forthcoming.
Juliette Commagere – Human – Aeronaut: Late in 2010 Commagere released her album The Procession on Manimal Records—a diverse combination of songs with dense and gorgeous vocals instrumentation—part art-rock, progressive and electronica. Commagere has returned with another beautifully recorded album of lush songs with her strong vocals and support from husband Joachim Cooder, Ben Messelbeck, Amir Yaghmai, Ry Cooder and recorded by Mark Rains and Martin Pradler. The sound is deep, full, inventive and often fantastical—she is doing her own thing, and I love it (catchy melodies and all). There are times when she channels Elizabeth Fraser as on Low.
Roger Eno – Ted Sheldrake – Backwater: Thirty Years after his first work Apollo with brother Brian and guitarist Dan Lanois, Roger Eno compiled this tribute to friend and neighbor, Ted Sheldrake. Although I reviewed this album in November of 2012, it wasn’t officially released until January of this year.
Cock & Swan – Secret Angles – HushHush: I am eagerly awaiting my blue vinyl (Kickstarter-funded) copy of this digital release that I reviewed in August.
The Bryan Ferry Orchestra – The Jazz Age – BMG: Back in March I did a brief comparative analysis of this album and Steven Wilson’s latest (see below). I think this is a really spirited and fun reinterpretation of earlier works by Roxy Music and BF. Being a lover of old acoustically recorded 78s of the pre-Jazz and Jazz ages, I get this.
Steven Wilson – The Raven That Refused To Sing (and Other Stories) – kscope: A strong album (I think it’s Steve’s best to date), beautifully recorded and engineered by Alan Parsons. My favorite song is Drive Home.
William Tyler – Impossible Truth – Merge: A brilliant solo guitar album by Lambchop and Hands Off Cuba alum, and a great follow-up to his previous Tompkins Square release Behold The Spirit. I reviewed this album in March.
Celer – Viewpoint – Murmur: As I noted when I reviewed this album in April, I find this album absorbing and romantic—a great piece for getting lost.
Ron Sexsmith – Forever Endeavour – Cooking Vinyl: I love Ron’s work–started listening in 1997 with his third album Other Songs. Forever Endeavour is sparsely arranged, but strings, horn, percussion, pedal steel or electric bass are right there when they’re needed. Other than that, the songs are Ron’s voice, and his acoustic guitar. He has a gift for wordplay and expressing emotions with a deft efficiency that flow so naturally with his melodies. Some songs on Forever Endeavour are ironically upbeat, like Nowhere Is and Snake Road—in a sense, keeping the faith. The CD has two bonus tracks (songs written with Don Black and recorded by Don Kerr), Life After A Broken Heart and Autumn Light, and they are just plain gorgeous additions to this album. Here’s a live recording of Autumn Light.
Two of my favorite new discoveries in 2013
Meridian Brothers – Desesperanza – Soundway: I heard about Meridian Brothers in an NPR Alt Latino podcast and was instantly hooked by this band from Bogata, Colombia–buying as much of their back catalog as I could find in physical releases. Their music is surreal and playful—a combination of Joe Meek, Esquivel and Raymond Scott.
La Luz – Brainwash (7″) – Suicide Squeeze: This is a single (my version is on clear vinyl) that was released by La Luz just prior to their new album It’s Alive—It’s infectious and fun! I got to La Luz thanks to Johnny Goss (one half of Cock & Swan).
RareNoiseRecords CD RNR033 Time: 45:53 (LP version coming soon)
Tracks: 1) The Vindicator Returns, 2) Scribble, 3) Empty Words (featuring Coppé), 4) Top Of The World, 5) Orange Grey Shades, 6) A Piedi Verso Il Sole, 7) Plates, 8) Noodlin, 9) Labratorio, 10) Secret Mission, 11) Otaku Goes To A Rave, 12) Viv, 13) To Be Continued
Band: Jacob Koller: Piano/Fender Rhodes/Keyboards, Brian Allen: Trombone/fx, Hernan Hecht: Drums
Wit and subtlety are often hard to find in much of what passes for music today. Then there’s music that takes itself so seriously that it might collapse under the weight of its own ponderous self-importance. Music isn’t always about the sound, it’s sometimes about the spaces and the silence—it doesn’t necessarily have to be a full-frontal assault on the senses.
A few years ago Brainkiller released their first album The Infiltration on RareNoiseRecords (#RNR010). Initially, this album caught my attention because it was a trio with a trombone, their music sounded playful and quirky, and it had some roots in other artists whose work I admired (Frank Zappa, King Crimson, Brand X, Godley-Creme, Weather Report, Return To Forever). Here’s a sample track, Casketch from their first album:
Colourless Green Superheroes is a series vignettes (some atmospheric like Empty Words, and some funky) exploring melodic, rhythmic and at time ethereal motifs and the tracks don’t rest long on a given theme before shifting direction. In a way, this album is a soundtrack in search of a film. There is also a restful ease throughout the album (making it perfect for a languid summer day or when the night is young), but there are moments when cool breezes blow and there is a jaunty awakening, as in Scribble. The spirited Fender Rhodes opening phrases take me back to Brand X’s Disco Suicide*. There is, however, an unexpectedly laid-back funky response from trombone and percussion, a bit like The Tortoise and the Hare—as if the Tortoise retorts, “Chill, I’ll get there…”
The themes introduced in the anthemic opening track The Vindicator Returns are explored further in Top Of The World, at first on a solo piano before the full trio plays off the rhythms and melodies. As in their first album, there are moments of recorded studio banter or live voices, which add a sense of spontaneity—also evident in the veiled conversations during the furtive Orange Grey Shades (my favorite track on the album). One can make up their own story to accompany the music.
The Vindicator Returns
There are times when the album is more contemplative as in A Piedi Verso Il Sole, a reflective lament of sorts. Yet the album shifts (before the vibe gets too heavy) to more raucous themes in Plates. The mood lightens further with Noodlin—a spirited piano solo (think a leisurely evening at a night club…at first), before moving to lighthearted voices (steering the improvisation), muted trombone solos and ultimately a vigorous trio romp. The upbeat repartee continues with the march-like Labratorio and perhaps the most vigorous track on the album Secret Mission (like a chase scene from one of the Bourne films)—see the video below for an excerpt.
Earlier themes are again revisited in the closing tracks of the album Otaku Goes To a Rave (my other favorite track on the album) mixing in some Scribble[s] and polyrhythms from the drums and piano. There’s an interesting combination of 1970s-era electric piano work combined with energetic phrasings similar to what the band Zammuto (ex-The Books) is working on these days. The album closes with the peculiar and brief Viv—a prepared piano musing, followed by To Be Continued, a reflective and somewhat subdued “roll credits” piece.
This album functions well as both incidental music or for straight-on listening and as soon as it ends I wonder where the time has gone…and so, REPLAY!
Photo of Brainkiller Courtesy of RareNoiseRecords
* – For those curious about Disco Suicide by Brand X: http://www.youtube.com/watch?v=FdAPEEW-OUA
This is a solicited review.
Darla Records – DRL 281 CD Time: 59:18
Tracks: Jane 1, Jane 2, Jane 3, Jane 4, Jane 5, Jane 6, Jane 7, Jane 8, Jane 9, Jane 10, Jane 11
Harold Budd is not complacent and I am thankful that rumors of his retirement actually turned out to be false (he briefly tired of writing and recording). He is (at 77) producing some of the most interesting work of his long and varied career. In a way, he is like Frank Lloyd Wright was at about the same age when Wright was hitting his stride with highly original and innovative works like the Kaufmann House (best known as Fallingwater)—always exploring and seeking new edges. Many might connect Budd’s work almost exclusively with solo piano pieces or his first collaboration with Brian Eno, Ambient 2: The Plateaux of Mirror, but his discography is remarkably varied, and including his joint releases, he has contributed to or been the solo artist on over forty albums since 1971.
The music alone on this album is divine, and even better there will be a DVD later this year including video collaborations with artist Jane Maru (who also produced the beautiful artwork for this album). Earlier this year a version of the furtive and at times skittering Jane 9 was quietly released on youtube—it’s just a hint of what to expect from this album.
This is a work of contrasts; some tracks tease the senses (like the unexpected and at times shrill Jane 1 or sharp-edged Jane 5 or the visceral and ghostly Jane 7) and then the pleasurable counter-effects are later intensified as the music ebbs and flows (as in Jane 2, Jane 3, Jane 4 and the sublime Jane 8). Moods and spaces change, first grounded and up-close and then transform into expansive and liberating flights. Budd is also exploring new sounds, instrumentation and treatments on this album (percussion [like chimes], electric piano, droning electronics, celeste and harp). I won’t say why, but Jane 6 evokes some very pleasant childhood memories. Jane 8 reminds me a bit of Anthony Phillips’ recent work Watching While You Sleep—deeply moving and one of those tracks I don’t want to end. The expansive Jane 10 is almost a reverse overture, recapitulating variations of sounds and themes from the previous tracks, as if reliving the experiences. To me, Jane 11 is the reappearance of the spirit of Jane 8—that which I didn’t want to end earlier, returned. How did Budd know that this is what I wanted?
Harold Budd has an uncanny gift for expressing so much with so little, a poet who just happens to use music instead of words.
**THIS POST HAS NOW BEEN SUPERSEDED BY MY REVIEW OF THIS ALBUM**
I won’t say much about this…yet. The new Harold Budd album is exceptional and different—unexpectedly so. It has a wide variety of instrumentation and broad frequency range. It moves from stark to lush and has moments of indescribable beauty (like Jane 8). Up until recently there was a video up on YouTube by Jane Maru, but now it appears to be gone**. So, for now, Budd’s record label Darla is streaming the album in its entirety (for how long, I don’t know). Go ahead, just buy it.
**Video now found!
I am thankful that Mr. Budd is still making music.
Anthony Phillips: http://www.anthonyphillips.co.uk/
Ant’s friend and illustrator Peter Cross: http://petercrossart.com/
Ant’s (too occasional) collaborator Enrique Berro Garcia: http://quiqueberro.com/
Although he was 18 when he departed from the band Genesis in 1970, many still associate Ant Phillips almost exclusively with that band (despite his approximately 40 commercially released solo albums and collaborations since 1970 in addition to his vast output of library music compositions and commission work). I have been very fortunate over the years to acquire all of these albums, and each time I place one of Ant’s albums on my turntable or a CD player his music takes me to another place and time (the ups and downs of a life). Ant’s music has been a big part of my life and I owe a great deal of my own creative work to being inspired by his. I think Ant said it best on his second Private Parts and Pieces album Back To The Pavilion (released in 1980): “This album is dedicated to all those who still champion the “old fashioned” ideas of beauty, lyricism and grandeur in art against the tide of cynical intellectualism and dissonance.” Many of Ant’s earlier albums are now being completely remastered (from the source tapes) and reissued (often in double CD releases).
Ant and Quique from PP&PPIII – Antiques: Old Wives Tales
Also spinning these days are albums by:
Three Metre Day – Coasting Notes
I have a ceramic artist friend (Hayne Bayless at Sideways Studios) to thank for getting me to these folks (often the best music comes from referrals by friends). At times their music is somewhat mournful, but always reflective and passionate—this trio from Canada is Michelle Willis, Hugh Marsh and Don Rooke with guest appearances by bassist David Piltch and drums by Davide Direnzo. The album is up-close, largely acoustic in instrumentation and delightfully musical.
Rhian Sheehan – Stories From Elsewhere
At times the music is delicate and others it’s intense, but it’s always inventive and beautifully recorded. Rhian Sheehan is from New Zealand and has released 7 albums under his name as well as appeared on many compilations and soundtracks.
Iron and Wine – Ghost on Ghost
I sometimes find Samuel Beam’s work to be a bit too intense and serious, but his latest album is open, hopeful and at times playful. The first single Joy is beautiful.
Wire – Change Becomes Us
I kind of lost touch with Wire after their albums Pink Flag and Chairs Missing, but I rediscovered their more recent albums when I updated my original recordings with CD reissues. If this new album sounds a bit like it comes from the late 1970s and early 1980s post punk era it’s because many of the songs were written back then, and haven’t seen the light of day until now. The recordings and production are full, with great clarity and this album just makes me want to turn up the amplifiers.
You can listen to the entire album here: https://soundcloud.com/wirehq/sets/change-becomes-us
Montt Mardié – Skaizerkite
Record Label: http://hybr.is/
David Olof Peter Pagmar has taken many identities and until a few years ago he was Montt Mardié (his website is now defunct) and he has since moved on to new projects, but in early 2009 this was his album of excellent pop tunes and ballads—beautifully recorded and produced. The entire album can be streamed here:
Jonas Munk – Searching For Bill (Original Soundtrack)
Jonas Munk has released many great albums and collaborations as Manual and more recently as Billow Observatory, but this is his first soundtrack. The documentary Searching For Bill is Danish director Jonas Poher Rasmussen’s debut and it explores the meaning of life for those living on the edge of American society. It’s a sensitive and contemplative soundtrack.
Many of these albums are available directly from the artists’ websites or at online merchants like http://darla.com/
Happy Listening and Spring (finally)!
Murmur Records: MMR – 17 CD Time 78:31
I’m not sure where to begin with this, but it’s likely best that I write as little about it as possible. Some of what I write is speculation or perhaps flawed interpretation, but it doesn’t really matter since music listening and appreciation is often subjective.
Will Long’s (Celer’s) new album Viewpoint is simply gorgeous.
I have listened to Viewpoint while walking, reading, on the edge of sleep, awakening in rays of sunshine and listening as I am now on (what I consider to be) proper audio equipment, with sound filling my listening room. There’s a commentary within the CD cover, and it’s a narrative of (as I see it) the beginnings of a love story, moments in time and place, captured and held in the collective memory of the two who shared it–the connections in words and sound. It took me a few attempts to remain focused for the entirety of the album, but after re-reading the story and dreaming along with the music I was hooked, deeply. There are moments when Viewpoint weaves and peregrinates throughout its twenty-six nearly invisible sections, and at times there are some darker moments (life’s unexpected times) and pleasant daydreams, but eventually it all becomes clear and things interlock and harmony prevails, as tightly as the paving stones that decorate the inner sleeve of the bi-folding CD jacket.
Hold fast to the memories, don’t let them go…
12k Label – 12k1074 – CD Time: 47:00
When I was younger and had a completely untrained eye for seeing, as in art of any form, I didn’t realize how many colors went into what I saw, whether in a landscape or an object (same in the musical parallels). It was later, seeing artwork at a museum (paintings up-close), dramatically enlarged photos, and a friend’s work in college (artist, Allen Hirsch) that I started to understand the density and complexity of color–as well as in sound and music, the overtones, harmonics and phasing in addition to the pure waves.
The Endless Change Of Colour affects me in two ways, creating a state of peaceful timelessness (wondering where that nearly-an-hour went) as well as producing a state of nearly motionless cascades of blending sounds that transmute into a sense of relaxing in a stream bed of flowing water on a warm summer’s day–when all else falls away and what remains is that moment. All of this from a generative piece of music built from a single phrase on an old jazz record split into three audio stems. The sounds (and side-effects) that without closer examination and contemplation, we wouldn’t normally sense except for the benefit of the time that this work seems to warp and retrograde during its existence.
There are brief moments when almost familiar sounds enter, only to be absorbed back into the metamorphosing blend. I hear some parallels to the effects created by Nicholas Szczepanik’s brilliant album Please Stop Loving Me, although the feeling in Endless borders on that of a gentle voice on the edge of a dream–a peaceful sense of belonging.
Available at: http://www.flamingpines.com/
The Wonga Pigeon by Broken Chip
Sometimes there are things that I don’t want to end, but then they do, far too soon.* This is how I feel about Broken Chip’s dreamy and elusive The Wonga Pigeon contribution to the latest pair of CD3s released in the Flaming Pines label Birds Of A Feather Series. Broken Chip is one of the musical personas of Martyn Palmer, who is from the Blue Mountains of Australia. Broken Chip has contributed to other Flaming Pines releases, and Palmer’s other nom de plume is Option-Command, for more electronic oriented works. The Wonga Pigeon musically recounts a first mysterious encounter with an unknown bird. Time passed and then the bird reappeared to finally be identified. Despite the presence of (what appear to be) bird calls within the recording, it’s a piano (in my opinion) that takes on the guise of this particular avian creature. All sounds, initially, are distant in the recording, indescribable, and ethereal. Gradually, the identity coalesces, only to disappear back into the ether after a brief second chance encounter.
* – And so, I hit repeat!
The Phoenix by Simon Whetham
The Phoenix is the second CD3 of this latest pair of Birds…, and starts off like a shower of humidity encountered when disembarking from a plane in a distant land—the sudden shock of relocation. The wall of omnipresent sound of the outdoors is from Phoenix Island in Cambodia and at first it is intense (mind your amplifier’s volume control!). Eventually, the body and mind adjusts to this extraordinary new environment, and the sounds around eventually calm, and the vision of what was once like a blinding light comes into focus. Water, wooded areas, bells and gongs can be heard from sound recordings made by Whetham in June, 2012. In a way, the piece starts off with the fervor of the war endured by Cambodia and VietNam not so long ago, and the gradual calming could symbolize the peace that has slowly returned to these environs; The Phoenix rising, symbolically. As with the previous releases in this series, I love the cover illustrations.
Landing Lights by Kate Carr
Also, of note (and I have only heard these samples thus far), I am intrigued by Kate Carr’s latest new album Landing Lights. I quite like the contrast of the growl of her guitar juxtaposed against the soft, floating keyboards as in the track My Brother Came To Stay…I wonder who the brother could be, in the mix? I can’t imagine. ;-) Some samples from Landing Lights are below, so I am definitely interested in hearing more.
My Brother Came To Stay