Saturday, 2 April 2016

Album: Gavin Prior - All Who Wander

Gavin Prior - All Who Wander



Gavin Prior - 'Between Breaths'


Info: Dublin-based improv, electronic and rock artist Gavin Prior will be releasing his latest album, All Who Wander, on the 12th of April, an impressive compilation of tracks recorded at various locations around the world, both live in the outdoors and in multiple recording studios, after a number of listens it very much felt like a whole rather than separate tracks, Prior describes it as a journey, which it is, and all of the tracks are separated only by location.

In his own words; "Most of the tracks on this album were recorded spontaneously without a particular project in mind. It was only when listening back I noticed the pattern of combining acoustic instruments with field recordings.” Field recording opportunities have come about through emigration to Korea, touring with United Bible Studies and the flaneur’s openness to chance encounters which can enrich the shortest of journeys. "Not All Those Who Wander Are Lost" is a line from a Tolkien poem, first seen by Gavin on a bumper sticker en route to Burning Man. So, as this album’s title it takes the form of dedication to fellow travellers."

Gavin Prior

Prior lays it out immediately on opening track 'Between Breaths', the first sounds we hear are the singing of birds before his soft acoustic guitar picking adds to the sense of serenity, meanwhile strings and backwards record effects add an air of mystery. An old door swinging on rusty hinges and chiming cow bells bring our imaginations to their next location, I imagine an old wooden barnhouse in a sunny field of wheat or corn with an old windpump in the distance, this is 'The Old Claddagh Swings', a very contemporary interpretation and use of some elements of traditional Irish music and more electronic sounds.

Straight after the stripped-down acoustic slide guitar on 'August Clouds' we're back among nature on the wonderful 'Moroccolin', the mandolin playing is joyful and such a pleasure to listen to, whilst exemplifying Prior's broad range of skill on one of many stringed instruments to feature on All Who Wonder. The sixth track on the album '고양이, 골목' (meaning 'Cat Alleyway') is set in an urban location, Incheon in South Korea to be precise, afterwards he reflects on the field recording; 'I think how tiny that cat sounds against the trundling traffic and how easy it is for unanchored creatures to get swept away in a megapolis.'

'Pangolin Blues' has a slightly dark edge to it courtesy of the slightly off-tuned and thick acoustic guitar playing of the top strings, it's another point on the album where you freely get lost in it's soundscape, subconciously drifting off. 'Leath-cuimhne' or 'half-memory' is up next, rainfall slapping ground providing the natural backdrop this time, a bizarre melding of bending and looping strings on the brief instrumental.

The album finishes strongly, 'Close, Blue' is a highlight once again for me, the strings are manic but beautiful, and it's atmosphere is exotic and folky. 'Schoolhouse Coda' has a an old school (yes) country and bluegrass feel, I imagine Prior sitting alone in a sawdust-floored wooden building way out in the rural, where you can see dust moving in the sunlight through the windows. All Who Wander is an album for getting lost in, opening doors to other rooms and locations, Gavin Prior's imagination pointing the way for our own to take over as his songs colour our mental pallet, and I loved every second of the journey we went on.


You can pre-order All Who Wander here https://gavinprior.bandcamp.com/album/all-who-wander


https://gavinprior.wordpress.com/


Album: Bocuma - Story of a Cube OST

Bocuma Story of a Cube OST




Info: Story of a Cube is the latest project from Irish electronic and experimental artist Bocuma. The game itself was developed by Tiny Atom Games, Story of a Cube is an action packed shooter about a lone cube and his quest for revenge. Mixing elements of twin-stick shooters and bullet hell games, this is a hardcore arcade game with a crazy amount of explosions. Whilst gamers will enjoy the game, everyone should love the soundtrack that Bocuma has put together, the popular solo act has a huge catalogue of work behind him and this latest release continues the improvement in his sound, right from the very opening with the excellent 'Cube Reflection (Intro)'.

Martin Millar (Bocuma) explains the background of how he planned and created the manic and sometimes insane OST; "I had so much fun working with Tiny Atom Games on this as I got to create chip like tracks influenced from my love of 8bit gaming days and inspired by the greats Barry Leitch, Tim Follin and Johnathon Dunn. I aimed to create a retro glitched out vibe with lots of C64, ZX-Spectrum and NES like beeps n doots mixed with distorted breaks n beats, which would not only compliment the games frantic action but give some depth to the quieter moments. As my first (and hopefully not the last) entry into the chip soundtrack world I hope you enjoy it as much as I did producing it."

You can pick up your copy of Story of a Cub OST and check out the rest of Bocuma's works while you're at it here https://bocuma.bandcamp.com/

For more info on the game and an interview with developer Fredrik Madsenof head over here.


EP: Twin Haus - Nothing Lavish




Twin Haus - Nothing Lavish


- Review by Noël Duplaa

Info: Experimental Australian prog-rock/post-rock 4-piece Twin Haus have just dropped their defining 4 track EP, Nothing Lavish. Following on from their last single release, Blood Tapes', this release sees them perfectly marry their daring psychedelic experimentalism to a tense and, one would assume, crowd slaying, version of explosive, melodic post rock which builds significantly on their debut EP, Waxen Myriad.

Right from the start, let’s put this in context - while this collection of songs is bundled as a 4-track EP, the sheer amount of ambition, invention and quality on display separate it from its supposed peers by quite some distance.  Weighing in at 28 minutes and 48 seconds long (8 seconds longer than The Strokes entire debut album), this is a collection that thinks in movements and moves in suites, each building on the progress of what’s gone before to deliver bigger and more resounding crescendos.  Like many post-rock standard bearers before them - think a nimbler Mogwai or a less blissed-out Explosions in the Sky - they focus on swells and crashes, shifting the pace and shape of the song at will with the grace and power of an approaching hurricane: beautiful from a distance, devastating up close. To speak plainly, the ambition alone of this EP is something to be relished, and the fact that it both achieves and supersedes this ambition is no mean feat.

Opening with a ghostly finger-picked progression reminiscent of Grizzly Bear’s freaked out, reverbed take on Americana, their deftly realised spectral soundscape gives way to a tightly coiled surge as Daniel Grima’s voice slides into a higher register, echoing the Radiohead of 'Knives Out' and '2+2=5'. By the time - 9 minutes later - that the opening track blends seamlessly into 'Self-Love', that section has built and dissipated, brass has latched onto and emboldened the silky intersecting melody lines, and the song has built and broken like Sigur Rós during their more violent ‘()’ apex. Radiohead are clearly a major influence on the band, but, more than just aping Radiohead’s moves, they seem to have picked up the gauntlet thrown down by the Oxford five-piece, and clearly delight in testing and stretching the limits of melodic rock songs to their own purposes.

And each song on the EP holds its own: 'Self-Love', flowing directly from the crescendo of the massive discordant ending of 'Synthetic Egg', repurposes the previous momentum with the addition of a Can-like krautrock beat, as the lead guitar spits Bends-era Jonny Greenwood broken phrases.  Lead single, 'I Used to Think', starts with a groovy, stuttering 5/4 beat, punctuated with shrieks of guitar, but shifts time signatures at will, building to a Jeff Buckley worthy finale. And that’s all before we get to the key track - 'The Revue'. 

Again, the drums are playing a stormer, keeping the pace while stripping away every few bars, creating the illusion of slowing down and speeding up - similar to the wooziness of stepping off an airport walkway.  Small builds punctuate verses as glowing guitar lines skitter around the central vocal.  Suddenly two minutes in, the tension breaks and we’re off, racing forward with filthy fuzz. That breaks down, and a slow build kicks in, ethereal falsetto shadowed by delayed guitar as the band thickens around the central motif.  Out of left field, a 4 snare hit takes the song into a different, downhill charge, alternating between light and dark as the drummer opens up the ride, gradually speeding, reminiscent of dEUS during their Instant Street pomp, gradually being eaten by the noise squall building behind it.

This is clearly the release of a band at peak confidence, basking in the comfort of having found their own voice. And it’s thrilling to listen to a band wield their power so effectively. While it’s incredibly clear that Twin Haus must surely be a phenomenal live proposition, this EP is the perfect translation of their chemistry and songwriting ability. On my first listen, in my notes I wrote a sentence that pretty much sums up how I feel about this EP: "These guys are not fucking around." Give Twin Haus 30 minutes of your life and that will be abundantly clear.


Like / Listen & Follow:

Facebook: https://www.facebook.com/twinhaus

Bandcamp: http://twinhaus.bandcamp.com/

Twitter: https://twitter.com/twinhaus