light dreams

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British experimentalist Leifur James preps new EP The Year Turns To Air.

Fresh off the back of a fruitful few years that saw the release of the artist’s much-lauded debut album, notable live performances and audio-visual collaborations, the London-based composer returns with a brace of new recordings. James builds on the success of his breakout with a dense and emotive new offering wrought with organic sound design and accomplished instrumentation.

Born in part as a response to challenges that continue to be felt worldwide, the backdrop for the music is the Neolithic stone circle at Avebury in the UK near to the home of the artist’s father and where James spent much of the past year. Returning to a simpler existence, closer to nature and landscapes infused with such prehistoric lineage provided valuable insight during the composition process. The combination of acute isolation and remedy worked to draw a new energy upwards and into the light that transferred itself almost by osmosis into the music. The transformation is best described by the artist themself, recalling a new moon rising, gleaming on the horizon during a period of particular intensity in February 2021, “like a tide was turning for us all.”

Opener Sirens introduces the EP with cinematic verve before building patiently, propelled by an undulating piano riff. Buoyed by the gentle hiss and crackle of audio noise and complete with softly engineered field recordings, the track waxes and wanes in James’ characteristic style before opening up into a rousing and energetic piece of left-field techno music. Ethereal follow-up Marianna eschews the kick drums in favour of soft modular bells that drive the work throughout its runtime. If Sirens hinted at James’ ability to draw intensity out of the restrained and economic use of instrumentation, Marianna certainly proves the point: as a single, swirling synth lead gives the track its almost trance-like energy. On Locked James returns to drum programming–hi-hats shuffle while bells reignite to deliver a simple but hypnotic hook; piano riffs drop in and out alongside rising synth components and washed out vox to create an immersive experience made powerful by the artist’s admirable production techniques. New Moon bears all the hallmarks of an artist whose primary concerns include density, texture and moving songwriting. Opening simply enough, a processed piano riff introduces the piece while soft live drums draw and pull to create space for playful guitar and synth parts that drive the work onwards, simultaneously creating moving gestures across the sonic landscape. A mesh of glistening sonics executed with considerable assurance, the ebb and flow of the track makes for an invigorating outro to the EP, fading to silence in its final seconds to close the door–even if just momentarily, on the next exciting chapter in the artist’s development.

Released November 24th, The Year Turns To Air is supported by a new Leifur James European tour beginning in October this year, including stops at AB in Brussels, London’s Village Underground and Melkweg, Amsterdam.

#Music #LeifurJames #NightTimeStories

Leifur James - Sirens

Tradição

The Beatles- Yesterday

All You Need Is Love (Beatles)

The Beatles recorded 25 takes of "Hey Jude" at Abbey Road Studios in two nights, 29 and 30 July 1968. These were mostly rehearsals, however, because they planned to record the master track at Trident Studios to utilise their eight-track recording machine (Abbey Road was still limited to four-tracks).One take from 29 July is available on the Anthology 3 CD.The master rhythm track was recorded on 31 July at Trident. Before recording took place, Mal Evans, the Beatles' assistant and pal, arrived with a truck full of marijuana plants and a large tea chest. He was met by Trident founder Norman Sheffield. Sheffield looked in the chest and found that it was full of corn flakes and steaks. Sheffield told Mal that they had a full kitchen upstairs and that the food wouldn't be necessary. Evans insisted on the pot plants, however, and said that "the boys" wanted the plants in the studio to make the place "soft." Four takes were recorded; take one was selected. The song was completed on 1 August with additional overdubs, including a 36-piece orchestra for the song's long coda, scored by George Martin. The orchestra consisted of ten violins, three violas, three cellos, two flutes, one contra bassoon, one bassoon, two clarinets, one contra bass clarinet, four trumpets, four trombones, two horns, percussion and two string basses.

According to Norman Sheffield, there was a lot of dissention to start with. "Some of the musicians were looking down their noses at the Beatles, I think. Paul picked up on this and confronted them straight away: 'Do you guys want to get fucking paid or not?' he said. That concentrated their minds pretty well...they soon fell into line." During the first few takes, McCartney was unhappy with the energy and passion the orchestra was putting into it. So he stood up on the grand piano and started conducting the orchestra from there. While adding backing vocals, the Beatles asked the orchestra members if they would clap their hands and sing along to the refrain in the song's coda. Most complied (for a double fee), but one declined, reportedly saying, "I'm not going to clap my hands and sing Paul McCartney's bloody song!"

Ringo Starr almost missed his drum cue. He left for a toilet break—unnoticed by the other Beatles—and the band started recording. In 1994, McCartney said, "Ringo walked out to go to the toilet and I hadn't noticed. The toilet was only a few yards from his drum booth, but he'd gone past my back and I still thought he was in his drum booth. I started what was the actual take, and 'Hey Jude' goes on for hours before the drums come in and while I was doing it I suddenly felt Ringo tiptoeing past my back rather quickly, trying to get to his drums. And just as he got to his drums, boom boom boom, his timing was absolutely impeccable."

At 2:57 of the song, someone can allegedly be heard to say, "Fucking hell!" There is some dispute as to who said this, and whether it was really exclaimed at all. Sound engineers Ken Scott and Geoff Emerick claim the exclamation came from McCartney and that it was Lennon's idea to leave the mistake in the final mix. "'Paul hit a clunker on the piano and said a naughty word,' Lennon gleefully crowed, 'but I insisted we leave it in, buried just low enough so that it can barely be heard. Most people won't ever spot it ... but we'll know it's there.'] However, in the Kevin Ryan and Brian Kehew book Recording the Beatles, discussing the recording processes behind the Beatles' sessions, engineer Malcolm Toft recalls, "Barry Sheffield engineered 'Hey Jude', but I mixed it ... John Lennon says a very rude word about halfway through the song. At 2:59 you will hear a 'Whoa!' from him in the background. About two seconds later you will hear, 'Fucking hell!' This was because when he was doing a vocal backing, Barry sent him the foldback level [headphone volume] too loud and he threw the cans on the ground and uttered the expletive. But, because it had been bounced down [mixed] with the main vocal, it could not be removed. I just managed to bring the fader down for a split second on the mix to try to lessen the effect." Others argue that the voice is Ringo Starr's.

George Harrison and McCartney had a disagreement over this song. According to McCartney, during a rehearsal Harrison played an answer to every line of the vocal. This did not fit with McCartney's idea of the song's arrangement, and he vetoed it.In a 1994 interview, McCartney said, "We were joking when we made the Anthology: I was saying: 'I realise I was a bossy git.' And George said, 'Oh no, Paul, you never did anything like that!'... But it was essential for me and looking back on it, I think, Okay. Well, it was bossy, but it was ballsy of me, because I could have bowed to the pressure."[19] Ron Richards, who worked for George Martin at both Parlophone at AIR Studios, and who discovered the Hollies,] was present for many Beatles' recording sessions. He said McCartney was "oblivious to anyone else's feelings in the studio," and that he was driven to make the best possible record, at almost any cost.Trident was paid £25 per hour by EMI for the "Hey Jude" sessions. Sheffield says his studio earned about £1,000 total, but by having the Beatles record there, and in turn raving about the facility, the value was incalculable.

THE BEATLES / HEY JUDE / REHEARSAL TAKE / WHITE ALBUM SESSIONS

Ruben Hakhverdyan - Sa Yerevann e

She Loves You - Beatles One Cover

Yellow Submarine

Yesterday - Beatles One Cover

This song was played a lot on BBC radio 1 and 2 - This is the acoustic demo, recorded in Brighton for a local radio station interview.

The Beatles- Yesterday

Bengerman

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