Format: Digital only
Time: About 74 minutes
Tracks: 1) Perfection Only Exists In The Mind 2) Nastassya 3) In A Sky Of Infinite Suns 4) Listen 5) Mistakes 6) The Föhn Wind 7) Wedding And Funeral Shoes 8) Amethyst 9) Devil In A Damn Fine Suit 10) Being Alive 11) 1, 2, 3 12) Delivered (My Maja) 13) Windows 14) Ghost Made Blood 15) Reality Is Like The Sun 16) How It Works 17) The Siege Of Antioch 18) Dale 19) St. Crispin’s Day 20) Embers 21) Looking Back Blues
Some readers may remember my review of Karl Culley’s 2015 album, Stripling. His new album Last (to be released on September 1, 2018) was recorded over the last three years in Culley’s home of Krakow, Poland. The good news is we have new music from Culley, and he is also now a father of a young daughter. The sad news is the turmoil in his life, a divorce, and due to various responsibilities he has decided this will be his “last” album of music.
The engineers for this album are Jaroslaw Zawadzki in Poland and Daniel Webster in England (the two tracks: Nastassya and Listen, with Webster playing all instruments, except for Culley on acoustic guitar). At first, I listened to this album at home, in my little studio, then I took it on a long road trip to and from the Adirondacks (in upper New York State), to get to know it better. It’s an excellent road trip album, by the way.
The subjects of this collection are both within the mind (things that can be imagined) and actual experiences (both joyous and painful). This album is pretty dense, and with 21 tracks, I found that I needed about two sittings to get through it, which is NOT at all a negative comment. Just the opposite, since the album is of a quality that demands a listener’s rapt attention. In my opinion, this is not a collection of background music. Coincidentally, at the mid-point of the album, is the metronomic instrumental 1, 2, 3, which serves as a bit of an intermission, before part two.
Culley deftly conveys the emotion of a given moment or the subject with only his acoustic guitar (ignoring the lyrics, for the moment), since the rhythms, strumming and picking reveal the intent of the song, like gently descending notes (like Embers falling in a fire) or a galloping heart beat (Being Alive) or the tender waltz (rocking cradle) beat and comfort and contentment in Delivered (My Maja). Maja also plays tricks with time, at first it’s the marvelous intimacy of having a newborn child on one’s chest, and then four lines later to “…unfurl to your consorts…” In a sense, preparing to release her to the world in her later years (children DO grow up quickly, as I can attest).
Without knowing (or wanting to know) the details of Culley’s private struggles over the last three years, it’s clear from this album that there are many complexities to love, relationships, and resentment. Have a listen to the darkness in Nastassya (which I am told is based on Dostoyevski’s The Idiot) or the anger and harsh reality in How It Works.
One of my clear favorites on this album is In A Sky Of Infinite Suns, with its snappy taut rhythm–I found that I kept hitting replay on my car CD player to keep the energy going. Another of the near-breathless pieces is Being Alive, with its galloping rhythm of angst “…just being alive hurt so much…looking into the mouth of a liar…like walking through the fire hurt so much…” (also sounding like a fast-beating heart with the lyric “…swells in the blood…”). By contrast there are contemplative meditations like Listen, and Reality Is Like The Sun that are both reflective and perhaps self-analytical (just like the more energetic and playful Mistakes). I wonder if KC finds that his own music can function as a form a therapy? I certainly find music to be quite therapeutic, whether energetic or comforting.
There are moments of keen observations of the bizarre, but absolutely true aspects of life, like in Wedding And Funeral Shoes, as well as moments of levity, Devil In A Damned Fine Suite. Overall, Last is a fine balance of musicianship and storytelling in a similar vein to the earlier acoustic works of Gordon Lightfoot, and if one listens carefully, one might pick-up the descending tones reminiscent of the opening to Nick Drake’s Chime Of The City Clock in The Siege Of Antioch (a pretty heavy observation on the First Crusade). The last song on the album, Looking Back Blues, is a reflection of sadness for a time past, but (perhaps) an appreciation that the passage of time can yield after the breakup of a relationship…there will always be a connection, especially when a child is involved.
I am sorry that Karl Culley is leaving the music scene, alas the realities and responsibilities of life somehow do take over, but I hope KC finds other rewarding endeavors for his talent and creative spark, and hope he enjoys watching his daughter grow up.
Take care and best wishes, Karl.
This is a solicited review.
Label: Sound of Jura http://www.soundofjura.com/
SOJCD1501 CD Time: About 36 minutes
Tracks: 1) Semi-Precious, 2) Come Over To Me, 3) School Of The Heart, 4) Spinneret, 5) The River To The Cave, 6) If We Were Free, 7) Namesake, 8) Mote, 9) Infinity Pool, 10) Whey-Faced Phantoms, 11) A.J., 12) Memory’s Like A Hunting Hawk
Youth, on the verge of adulthood, in search of meaning and perhaps companionship. Young enough and determined to look forward and hope and old enough to reflect on memories and retain some wisdom from experiences; this I interpret to be the theme of Karl Culley’s latest album Stripling. This is Culley’s fourth album, and he now lives in Krakow, Poland, where the album was recorded, but still with strong roots remaining in the north of England and Scotland. His previous albums are: Bundle of Nerves, The Owl and Phosphor.
The songs on Stripling range from hypnotic meditations to something that might cause a gathering of folks (in a pub, perhaps) to spontaneously dance (or at least vigorously toe-tap). The sonics are relatively intimate and unadorned: It’s Culley, his guitar and his voice, but it’s a deeply resonant recording. Contrary to some of his finger-style guitar contemporaries like William Tyler, Daniel Bachman or James Blackshaw there are no lengthy rambling instrumentals. The songs are penetrating and get right to their point with an atmosphere, a memory or story. While others have made comparisons to the work of John Martyn and Bert Jansch, I’ll add the early acoustic works of Gordon Lightfoot (with echoes of his subtle vocal warbles) and the technical crispness and vigor of John Jorgenson and Tommy Emmanuel.
Judging from the reflective nature of his lyrics, it seems like Culley’s work takes time to gestate, but once a piece is fledged it’s cohesive and thoughtfully formulated. There are curious ironies and juxtapositions between rhythms and words. The somewhat brief Come Over To Me seems to be based on heavy subjects, yet the meter, fingerings and melody are lively, but not exactly upbeat. Mote has lyrics (“Floating like a mote through sun or angels trapped in amber, we fall…”) that reference the abstract yet there is a steady grounded rhythm and melody. Whereas Semi-Precious, School Of The Heart, Spinneret and Namesake are reflective, even tender meditations, with the rhythmic fingerings of Spinneret reminiscent of some of Nick Drake’s work—and there is a humble elegance in Namesake.
The mood of a song and lyrics can also be direct and related like the more serious The River To The Cave—not sentimental or wallowing, but observant of circumstances. Vibrant lyrics and melody align in If We Were Free, with much of the verses being slightly-pitched spoken word observations with the final incantation “3 men are lowered into the ground…” abruptly punctuated with silence before returning one last time to the vigorous refrain (reminds me of Richard Thompson’s work).
Stripling isn’t without musing, delighting in the possibilities of enjoying a figurative or literal swim in the reverie of an Infinity Pool—it also is curiously similar rhythmically to the acoustic version of Layla that Eric Clapton recorded a number of years ago. There are also moments where advice is presented or experiences recounted as in Whey-Faced Phantoms, which evolves into a cautionary mantra and A.J. recalling the desolation of unexpected endings—in both, the melodies and harmonies echoing the starkness of a mood.
The album closes with Memory’s Like a Hunting Hawk, intensively focused with desire. There is, however, a pensive gentleness in the longing…solemn and hauntingly lyrical all at once. Also of special note are the pen and ink illustrations that decorate the CD and cover, as if from a notebook of youth: pondering, exploring, even brooding yet freely expressing. This CD made a long journey to me, and I’m glad it finally made it.
This is a solicited review.
450 CD copies, first 15 copies signed by BP, also digital (to be released January 21, 2014)
Remix label: http://losttribesound.com
Available at: http://losttribesound.bandcamp.com/album/hymnal-remixes
CD 1 Remixes – 44:51: 1. Mercy (Fieldhead), 2. Margin (William Ryan Fritch), 3. Excave (Squanto), 4. Litiya (The Green Kingdom), 5. Homily (Cock and Swan), 6. Florid (Brambles), 7. Censer (Field Rotation), 8. Reliquary (Part Timer), 9. Margin (Zachary Gray), 10. Foxtail (Graveyard Tapes)
CD 2 Remixes – 53:29: 1. Hawkeye (The Remote Viewer), 2. Censer (Segue), 3. Knell (Widesky), 4. Florid (Loscil), 5. Foxtail (Radere), 6. Gospel (James Murray), 7. Reliquary (Benoît Honoré Pioulard), 8. Margin (Ruhe), 9. Gospel (Window Magic)
I want to note that sound quality and production are very important to me, almost as important as the music itself. So, given that statement, please read this review carefully. Comments seen as criticisms are not of the music or the writing, but largely on the choice of production methods and sound quality. I think very highly of the music penned and played by Tom Meluch (in his guise as Benoît Pioulard). With that in mind, please read on.
Hymnal – The Original
I’ve enjoyed Benoît Pioulard’s previous kranky releases as well as the more experimental vinyl EP Plays Thelma on Desire Path Recordings, so coupled with the early press accounts of Hymnal I was hopeful that it would be a great album…
I feel that there are many exceptional songs on Hymnal (Hawkeye, Reliquary, Excave, and especially Margin, and Litiya) along with some comforting drones (like Censer), but in general I feel there is a lack of presence in the recordings—they sound flat, out-of-phase and firmly entrenched in a claustrophobic mid-range (nothing at all like the sumptuous reverb of the intended muse “religious architecture”). Pioulard’s songs on this particular album are lost in a limiting boxy haze.
I’m a big fan of lo and mid-fi recordings and some musicians do it so well; East River Pipe (FM Cornog), more recently Will Samson and especially (one of my favorite albums of 2013) Bryan Ferry’s The Jazz Age (recorded in monaural with Jazz-era microphones). Granted, some artists and writers create works within strict limits and can be quite successful (shades of a single color, certain textures or excluding a specific vowel in a written work), but with all the praise I take a contrarian view on the technical execution of Hymnal. The quality and depth of recordings matter to me, unless there is a stated goal for why sound must be altered so dramatically.
I learned recently of Benoît Pioulard’s other off-label work, such as his 2011 digital EP Lyon (and in support of how I think Meluch writes some great songs). Have a listen to the gorgeous and unadorned song Tie:
It has some of the qualities of recordings by Nick Drake and Bert Jansch (think The Black Swan). I’m certainly not advocating that Pioulard chooses between one recording approach or another, I’m suggesting perhaps a sound somewhere in the middle, with the vocals higher in the mix and a fuller sound.
Hymnal – The Remixes
Original songs can find new life in covers or remixes. So, when Lost Tribe Sound announced this collection of Hymnal reinterpretations (by artists such as Loscil, Cock & Swan, Brambles, The Green Kingdom and William Ryan Fritch) I thought that some of the depth that I felt was missing in the original might be introduced or restored.
This is a really interesting collection, and the recordings in most cases have the clarity and sonic diversity that I had hoped for in the original album.
The two CDs are split loosely into two categories: 1) rhythmic with vocals and 2) more on the ambient side, largely instrumental. After a couple of listens I was quite surprised that I found myself leaning more towards the feel and sound of the more actively engaging CD 1.
As with the original album Mercy (I’ll call it track 1.1) opens the collection and it’s a bit of an assault on the ears (the original being a full-on harmonium before the vocals enter), but in the remix version the harmonium is tamed and a slow march beat is overlaid. The sound is far more spacious, as if entering a cathedral. William Ryan Fritch’s remix of Margin (1.2) is an almost frenetic orchestration compared to the original and Zachary Gray’s version (1.9), which starts off quite stark with lone guitar and vocal and gradually the instrumentation and soundstage expands—I think both are quite successful, and in Gray’s version the vocals are clear as the song develops (makes me wonder all the more why Meluch chose to shroud such a great song). Squanto’s remix of Excave (1.3) is a series of repeated fragments made into a rhythm and sounding very much like some of Peter Gabriel’s mid-career work.
The Green Kingdom’s and Cock & Swan’s remixes of Litiya (1.4) and Homily (1.5) are quite enchanting. The sound of Litya softer, fuller and more comforting than the original—the soft electric guitar and cello overlays give the track such an easy feel, and Pioulard’s largely untreated vocals weave right in, so well. I have to admit that Homily is one of my least favorite tracks on the original album and Cock & Swan have woven their unusual magic, making it an ethereal journey (supplemented with Ola Hungerford’s vocals) while maintaining some of the original grit, and I assume that the crisp nylon guitar overlay is Johnny Goss’s. Brambles transformed Florid (1.6) into a (quite unexpected) “chill dance” piece—it has a languid vibe. Field Rotation put Censer (1.7) into a time machine and it emerged from an old modular Moog during Tangerine Dream’s Stratosphere era. The original version of Reliquary is furtive and mysterious, and Part Timer (1.8) stretched this concept further with his stark (and at time minimally orchestrated) interpretation.
The Remote Viewer’s version of Hawkeye opens CD2 (2.1) and its origins are deftly shrouded, and at first I didn’t care for it much, but it has grown on me—it’s delicately fragmented with some quirky treatments (very Boats-y!) and at times it sounds like Mark Isham’s early experiments from back in his Windham Hill label days (yes folks, I’m that old). My two favorite tracks on CD2 are Segue’s version of Censer (2.2) and Loscil’s (at times, visceral) remake of Florid (2.4). Curiously, Censer is given a gentle heartbeat, which despite the motion has a rather soothing effect to it. The remix of Florid somewhat belies its connotation, elaborate in its sonic depth, but not ornate.
Widesky’s Knell is an expansive fragmentation of the cathedral bells of the original and then all is absorbed into a rather compressed package of the experience (kind of like a snow-globe)—it’s a bit edgy for my ears. Sorry, but Radere’s version of Foxtail (2.5) just didn’t work for me—too strident. James Murray’s Gospel (2.6) meanders and bends with a broad color palette and is a contrast to Window Magic’s version (2.9) that is narrower, more primary shaded.
Pioulard’s remix of his own track Reliquary (2.7) shrouds the original even further; the furtive character is diminished—a curious approach. Ruhe’s version of Margin (2.8) is an almost unrecognizable adaptation of the original with only the slightest of rhythmic and vocal fragments remaining—in kind of a trance beat.
Sometimes sequels or remakes are better than the original, and that’s how I feel in this case on the production side of things. Despite my comments on the source material, I urge listeners to purchase a copy of Hymnal and judge for yourselves—some might disagree completely with my assessment on the sound quality. I’ll continue to look forward to Benoît Pioulard’s future recordings.
This is a solicited review.
Karaoke Kalk 69LP – Time: About 34 minutes (LP, CD & Digital Files)
Record Label Website:
Recorded & Mixed By: Florian Frenzel & Will Samson Mastered By: Nils Frahm
Tracks: 1) Oceans Are Wilder; 2) Cathedrals; 3) Hunting Shadows; 4) Eat Sleep Travel, Repeat; 5) Painting A Horizon; 6) Music For Autumn; 7) Storms Above The Submarine; 8) Dusty Old Plane
Some may recall my review of Will Samson’s last album Hello Friends, Goodbye Friends (there’s a link to it on the right of this page, near the bottom of the list or use the Search box). HFGF was timely; it rang like a beacon of hope. It was a pretty special thing to think that a 20-something had such an affect on this 50-something, but there are all kinds of wisdom floating around and sometimes age really doesn’t matter. I don’t mind admitting this at all, as it has been music that has helped me at many times throughout my journey in this life. So, at the first mention from Will that he had another album in the works, I was excited; resisting temptation to listen to early previews, preferring to wait for its full and formal release. So, I ordered the LP, with the striking cover photo by Scott McClarin.
It was worth the wait.
From the first celeste (vibraphone?) notes and soft vocal harmonies of Oceans Are Wilder, I knew that there was a great synergy in Will’s work with Florian Frenzel and Nils Frahm—complementing the music and lyrics so well. As the album progresses it moves from a soft state of consciousness to a deeper meditation (with one brief diversion). There is a lovely balance of instrumentation, vocals, ambient sounds and the outdoors. These are songs of friendship, strange journeys, and visits to places real and imagined. The mix of six vocal songs and two instrumental respites is a bit like Nick Drake’s second album, Bryter Layter.
Samson continues to use his upper register (and falsetto) voices prominently, although there are times when full-throated harmonies are blended. Vocals are also fuller in the mix of this album, and the overall sound is different; the result of using venerable analogue equipment, tapes (old cassettes, a Tascam 8-track) and working with Florian Frenzel’s salvaged organs, analogue tape delays and old microphones.
The ambiance of the analogue equipment is strongly present in Cathedrals, it gives a misty quality to the sound, a sense of the ancient, like the foxed pages and deckled-edges of aged books or the opening title sequence to an old film. In particular, I think the layering of sound is particularly strong, starting with simple acoustic guitar, then unadorned vocals, then vocal harmonies added ending with the lyric “That spin so separately…” and then an abrupt and lyrical chord change into “Impossible became much easier…” and shifting to an electric guitar drone to the end—it’s mystical and soulful.
Hunting Shadows is an outdoor walk, and the music and treatments take the place of moving light, shadows and the lightly moving breezes of a new day. Eat Sleep Travel, Repeat has the ambiance of being aboard a ship at sea late into the night, composing (acoustic) music by candlelight and the stars, with slow swaying movements, as does the more electric (with broad vocal harmonies) Painting A Horizon. The trombone solo in Eat Sleep is an impeccable complement as are the banjo and cello on Painting. There are similarities with the more plaintive side two of Brian Eno’s album Before and After Science, the three tracks Julie With…, By This River, and Spider and I.
Eat Sleep Travel, Repeat (Premiere Video)
The second instrumental piece (again, with cello) on the album is Music For Autumn. It’s as if the sun is lowering in the cool night sky and as the track closes, Samson adds a warming chorus of voices. The brief diversion noted above is Storms Above The Submarine, which starts playfully, with furtive notes, sounding a bit like some sonic experiments of Raymond Scott. Then a somber throaty organ mixes with Will’s overdubbed voices (which are treated to sound a bit like a mournful saxophone) and altered guitars. Dusty Old Plane (and oh so beautiful, it is) closes the album, with practically a whisper of droning keyboard, reverberant electric and acoustic guitars and Samson’s harmonies. Listen carefully; there are birds in the background. This peaceful track is a sonic blessing, and a farewell of sorts. I also note that this album is dedicated to his father.
Please keep making music Will; you have a true gift.
A postscript: I have only one (hopefully received as constructive) comment on what is otherwise a brilliant album, and that is to recommend to not let the desire to use aged and lumbering analogue equipment for ambiance shroud the quality and beauty of the music too much.
CD 43:24 – 12K1070 – 12k Records
1) Adrenaline, 2) Noon, 3) Get Together, 4) Quite A Way Away, 5) This Is The Kiss, 6) Happy Easters, 7) Nunca Jamas (Never Ever), 8) Jonah
More beautiful music to disappear into, discovered this time by an association with a record label that I have quickly come to admire a great deal, 12k. There is quite a story behind this album by Gareth Dickson and it is told best, right here:
The comparisons to the sound, the voice and the music are immediate: Nick Drake, Bert Jansch and others, yet there are some distinct differences, some technological and some musical. I speculate that some of the tunings and picking are similar to techniques used by Nick Drake (whose work I am far more familiar with), but there are similarities to another guitarist I admire a great deal, Anthony Phillips (Geese and the Ghost, many others, and collaborations with Harry Williamson: Tarka & Gypsy Suite).
With the exception of instrumental piece Happy Easters, each song starts with an extended introduction on the guitar. It sets the mood, the color, space and even establishes a sonic incantation for the coming lyrics (much of which are of love, longing and searching).
The recordings have incredible depth (considering they are classified as “lo-fi”). I’m not sure how the album was engineered, processed or mic’ed, but there are some guitar sound similarities to Neil Young’s recent album Le Noise that was produced and engineered by Daniel Lanois. In Quite A Way Away the guitar sounds as an orchestra (whether strings are muted or being played at their fullest at the heart of the guitar). The instrumentation is as stark as Nick Drake’s Pink Moon yet the sound is as full as Five Leaves Left or Bryter Layter—so wonderful to hear.
Happy Easters, to me, is very strongly reminiscent of the acoustic sections of Anthony Phillips’ Scottish Suite as well as other pieces from his second Private Parts and Pieces series of albums. Quite fitting, since Gareth Dickson is originally from Glasgow, Scotland, and his voice also reveals his roots elsewhere on the album.
This is not an album of songs with guitar accompaniment nor is it a guitar album with vocals. Gareth Dickson combines both and reaches into the sonorous depths to create a passionate, deeply emotional and soulful music.
Links to other song samples here: http://soundcloud.com/gareth-dickson