A new collaborative project from Jefre Cantu-Ledesma and William Trevor Montgomery. Both musicians played together in Tarantel and Moholy-Nagy. Cantu-Ledesma also runs the superb Root Strata label, releasing solo material under his own name (including a recent LP on Type), and also plays in The Alps. Montgomery also releases music under Lazarus, The Drift and Believer.
This project was originally conceived and composed as a soundtrack to an unreleased western. The 14 tracks on this record are beautifully delicate, textured, sparse pieces ranging from slow acoustic reflective moments, to fully electric strumming, they capture the feel a western perfectly. It’s a shame the film never made it out, because judging by the music it would’ve been a beautiful spectacle.
The project was was recorded by Jefre Cantu-Ledesma and William Trevor Montgomery and mixed at studio Lamantia, the record was mastered by Greg Davis. The image on the cover is a still from a Paul Clipson film, whose films have previously featured the music of Jefre, Barn Owl, Tarantel, Gregg Kowalsky and Metal Rouge. Sleeve layout by Jefre. Pressed on 140 gram black virgin vinyl. Limited to 500 copies
The world shimmers in a haze of heat. A tongue, what was once a tongue, you peel it off the roof of what was once a mouth. No sound. A crunch of brittle grass underfoot, but from the once-was-mouth, no sound, no voice. You entered the vast expanse and everything fell silent. Crunch, crunch, crunch. And the dust clings to everything.
A film, a western that was never made, a story never told. All the stories we tell about the desert are attempts to stave off the desert. To hide from its oppressive heat. We want to be sure that the person in front of us is not a mirage, that the silence does not swallow all. You cross the great wilderness, and you come back with a story. If you come back. This story is in fact the sound of the desert, because in the desert itself there is no sound, no words. The story must be told for the desert to be.
So this is the thing about Isidore Ducasse – whoever she is: the music fights off the silence, even as it lapses into silence. It tells the story of a film that was never made, a story that remains untold. This telling – the telling of the untold story – is the only evidence you have that the story ever existed. That and the dust that still clings to your body. It must be a beautiful story. Haunting, savage, yet beautiful. Full of blistering sun and nighttime cold, miles that rattle by without change. Grinding drones and heady vibrato. Sparse, empty, yet as heavy as the afternoon heat. A story you think you might have heard before. – Fluid Radio
Neverest Songs is the alias of Margate based multi-instrumentalist and songwriter Luke Twyman, who is set to release his debut, double A-side single Paper Trumpets/Softly, Quite Softly, Quite Softly through independent label Tea At Yours.
Initially working in a humble home studio set-up, early 2005, Twyman began to harness his talent, before starting work on his debut album Small Voyages, in late 2008. Undertaking a small voyage of his own, Twyman travelled to New York to record the piano parts, with friend Rick Warren and by late 2009 twenty-four songs were complete, and the final thirteen tracks selected. Small Voyages was released as part of the Unlabel catalogue, in early 2010.
Folk music derives its origins from venerable working class traditions and its name reflects this. Notoriously difficult to define, the genre’s porous borders have helped to keep it fresh and ever relevant, with such a wide range of artists as Bob Dylan, Joanna Newsom, Nick Drake and Bonnie Prince Billy all falling somewhere within Folk’s purview.
This latest release, brought to us by the prestigious Bedroom Community can also be defined as folk music but, following in the tradition of the finest material in the genre, Puzzle Muteson’s latest full-length album throws a lot more into the pot too. Little seems to be known about the enigmatic artist based in the Isle of Wight, other than he is a singer-songwriter originally from London who has a penchant for melancholic guitar and a talent which is self-evident. Choosing to remain anonymous could be seen as an affectation to some, but so sincere are the songs within En Garde, that the lack of information on the artist forces us to focus solely on the music, which is probably for the best, since it would be foolish indeed to miss a moment of this carefully crafted masterpiece.
Quadtych Volume One presents Parts One and Two of Cam Deasʼ colossal Quadtych for 12 string guitar, a four part piece spanning over 70 minutes in total.
Recorded in one evening at Londonʼs Roundhouse in December 2010 by Jack Allett, though over a year and a half since its initial sketches, it is his first composed work for 12 string guitar since the 2009 split tour LP with Spoono/Jack Allett on Blackest Rainbow.
Riser was borne out of a desire to bring the sound of the human voice to the core of Fieldhead’s music, and to rally against an idea of it as peripheral, as an afterthought to the music. The EP continues the love of tape hiss, grainy textures and dusty loops married with brevity and melody to be found in the album preceeding it (‘They Shook Hands for Hours’), but this time the pallete has been stripped back to just the human voice and minimal, organic synthesisers.