In my 2012 review of The Cloisters, I had written about how the imagined landscape (Britain, in these cases) features so strongly in some strains of contemporary experimental folk music. Granted, this has been a central theme in folk since the 60s revival, but as I argue, the ease with which electronic manipulation can be applied these days has really influenced some of the more experimental folk works in the past decade or so. This heightened interplay of the ‘acoustic’ and electronic, and in a broader sense, between the rural and the urban, makes for a liminal artistic and imaginary field that is finding different forms of expression these days. […read more…]
Nathanaël Larochette’s Musk Ox is now a trio, and with the new album Woodfall, the music has evolved to fully fledged chamber folk. Larochette’s classical guitar works in unison with the violin and cello parts added by Evan Runge & Raphael Weinroth-Browne, the latter of whom also co-composed the album. The result is a suite taking parts from both classical music and the acoustic romantic neofolk from the mid-nineties and later. […read more…]
Short reviews of: Alasdair Roberts & Robin Robertson – Hirta Songs (2013, Stone Tape); Immortal Bird – Akrasia (2014, Self-released); Kentin Jivek & Miro Snejdr – Voir Dire (2014, Self-released); Wolves in the Throne Room – Celestite (2014, Artemisia). […read more…]
Dutch label tonefloat and the prolific Flemish musician Dirk Serries have been working together closely for years now, but this month, they are taking their collaboration to a new level. A New Wave of Jazz is the title of a new sublabel of tonefloat and its description suggests that it will be home to music with a dedicated improvisational approach, inspired by the free jazz and DIY philosophy of Sun Ra and the El Saturn label. In this case, that means albums curated by Serries, released on limited edition LPs in custom sleeves. […read more…]
“Weird Evening Lament” is a result of my collaboration with fellow mixer WeirdwithBeard. We’ve been following each other’s mixes for quite a while and decide to knock some shit together. The result is very eclectic, as you might expect. Hopefully it’ll make as much sense to you as it did to us. […read more…]
For the Returning Sun by Evening Of Light on Mixcloud
A special long mix, without presentation, for the people who are in need of a bit of Sun in their lives. I hope this will give you warmth and hope.
Thanks to Michael Tanner for inspiration, and to Jack de Quidt for allowing me to use his music. De Quidt’s song is the soundtrack to a short videogame by Cameron Kunzelman, which you can play here: http://heylookatmygames.com/ship/.
It’s been a few years since I got to know Canadian duo AUN (Julie Leblanc, Martin Dumais) from their album Black Pyramid on Cyclic Law. Compared to that album, Alpha Heaven feels a bit less dense, with less focus on heavy drones, and more on open spaces, although both are still present. The main chunk of this album is extremely pleasant and mostly calm. More so than previous works, Alpha Heaven seems to have something of an outer space setting for me, which is of course stimulated by some of the titles, which suggest celestial bodies and exploration. […read more…]
Cloudscape #42: November 2013 by Evening Of Light on Mixcloud
Art: The Veil by Claudio Bravo.
00:00 | Sabled Sun | Through the Gates | 2146 | 2013 03:06 | Postdrome | This Ship Creaks | Where the Kind Will Land | 2013 04:23 | Brethren of the Free Spirit | Аποκαλνψις, The Lifting of the Veil | All Things Are from Him, through Him and in Him | 2008 11:48 | Jessica Curry | From […read more…]
The Floating World is the main artistic project of Amanda Votta, specialising in flute-based ambient music with dark and mysterious undertones. Starting as a solo flute project with its first releases eight years ago, it has since attracted numerous collaborators on various instruments and, occasionally, spoken word. Recent albums The Apparition and We Hunted have appeared on Cyclic Law and Reverb Worship, respectively, and this label attention will hopefully propel Votta’s music into a wider audience. Her latest album, The Wood Beyond the World, is just out on Eclipse, the subsidiary label of Cyclic Law. […] The interview below is the result of an email conversation I had with Amanda. My intention was not just to give her the opportunity to tell us a bit about the history of The Floating World, but also to get her to delve a bit deeper into literary and art history, a topic I know she enjoys. As you’ll see, those promises were fulfilled, as Amanda has a lot to say on the subject. […read more…]
Songs are sometimes immortal travellers, and if you follow their tracks, you end up in all kinds of places. Regular readers will know I have a weak spot for folk ballads, and their history and various interpretations are fascinating to track. Bushes and Briars came onto my path from different directions, but I’ll get to that later. The oldest mentions of the ballad that I could find are from nineteenth century broadsides such as this one. It’s a classic love ballad, in the sense that it explores some of the troubles and uncertainties of love and relationships. The woman in the song doesn’t trust men, and the last line suggests she’s driven to suicide because of it. Within the context of British ballads as a whole, that is understandable, as many of them are about men preying on (and murdering) women. In 1904, the song was collected and rearranged by English composer Ralph Vaughan Williams, and from there on it entered into the repertoire of many choir and solo singers. […read more…]