Jane Weaver
Intiaani Kesä
DIM008

Originally commissioned as incidental cues for a short film by Helsinki based designer Paola Suhonen, Intiaani Kesä (Indian Summer) by multi-instrumentalist Jane Weaver has since grown into a fully formed project lending itself to a number of further cinematic productions and creative applications . Appearing alongside Demdike Stare and Brigitte Fontaine in the vampire film Kiss Of The Damned by Xan (daughter of John) Cassevetes and recut and performed as an alternative rescore to Eiichi Yamamoto's Belladonna Of Sadness for various live performances, this set of well-crafted themes takes it's brazen influences of Nicolai, Dell'Orso, Alessandroni and Daniella Casa back to their purest analog recording origins with startling effect. Recorded in an old vicarage near the Peak District, housing a unique analogue experimental studio, Intiaani Kesä hears Weaver deploy a wide range of instruments including tubular bells, bowed guitars, vintage Goblinised Roland string synths, detuned pianos, church bells, Roland guitar synths, harpsichords and ex-Radiophonic Workshop custom equipment as accompaniment to wordless and onomatopoeic chorale vocals recorded on valve microphones with space echo, sonic room reverbs and bespoke experimental tape delays. Made in a disciplined and unforgiving environment without modern technological shortcuts these self-initiated creative research prototypes were not initially intended for commercial release but are thankfully gathered here as songs in there own right independent of context.

Jane Weaver - Parade Of The Blood Red Sorrows

From the album, 'South Wind,Clear Sky,' out now on Second Language Music.  www.secondlanguagemusic.com

Perhaps still most widely recognised for Dreaming With Alice, his 1972 psych-folk debut for RCA Italy as a 19-year-old art student-troubadour, Mark Fry has been turning his creative gaze on the world, and alchemising its elements into shimmering, quietly visionary works of art, ever since. Certainly not an artist who dances to the music of time in any conventional sense, Mark, a respected, and collected, painter, most often to be found holed up in his Normandy farmhouse studio, allowed more than three decades to glide by before recording Alice’s follow up, 2008’s Shooting The Moon. His subsequent musical activity has been frenetic by comparison.

Mark’s beguiling, Arcadian-flavoured 2011 Second Language album, I Lived In Trees, recorded in collaboration with The A. Lords – musicians from a more recent generation of psychedelic-folk experimenters – proved a major critical hit, demonstrating that Mark Fry’s musical stock lay not only in the Paisley-hued haze of his Aquarian Age youth, but also in the full glare of the postmodern, internet-facilitated present. A series of concerts in Japan and Scandinavia, and a widely reported ‘supergroup’ London showcase, featuring members of Mercury Rev, Super Furry Animals, Tunng and Lemon Jelly, further evinced the subtle but inexorable diffusion of the Mark Fry legend, something abetted by BBC Radio 4’s Today programme airing an interview with Mark in the wake of Trees’ release.

All of which brings us to Mark Fry’s latest, most exquisitely realised musical offering to date, South Wind, Clear Sky. Sung with that now familiar alloy of cool restraint and wondering innocence, and passingly reminiscent of the kind of English pastoralism associated with the likes of Kevin Ayers or Bill Fay, the album’s leanly arranged yet immersive songs are propelled by Mark’s glinting, plangent guitars and deliciously embroidered by John Parker’s double bass, Angèle David-Guillou’s piano and backing vocals and Katie Lang’s French horn, all bound together by producer Guy Fixsen (My Bloody Valentine, Stereolab) into a delightfully iridescent whole. For all its finely honed arrangements, and the translucence of its recording, South Wind, Clear Sky is still very much the work of the man who made Dreaming With Alice; the mature Mark Fry’s feeling for wonderment and magic, for the dreamlike and the innocently surreal, is just as pervasive, and persuasive here, only more focused, and etched against a more luminous, even heavenly canvas.

Where the lyrics on his last album found Mark reaching up through the summer branches toward an azure sky, here that celestial dimension provides the focus for eight shimmering chamber-folk essays whose wistful narratives of flight and fancy and empyrean romance purr and soar with a stately grace, like the ‘Aeroplanes’ of the album’s richly melodic opening track.


Mark Fry - Aeroplanes

REVIEW > inverted-audio.com/review/dial-all

John Roberts' Paloma is one of the most interesting tunes of the collection, a track that confirms the American producer's recent return to an even lusher battery of sounds, drifting more freely towards John Cage'ian shores and melting elements as diverse as nervous guitar vibratos and strings getting distorted in an background orgy of swashing percussions.

inverted-audio.com/artist/john-roberts
inverted-audio.com/label/dial

John Roberts - Paloma [Dial]

LOK! - ALL I REALLY WANTED (Prod. LOK!)

And so, what do you wonder......
© lyric written Sep 2022 here https://allpoetry.com/poem/16752236-A-Wonder-Wander-by-Lockdown-Larcs
and AI music helps it to wander musically

A Wonder Wander

Fire! - She Owned His Voice

Taken from 'At The Dam' LP by Mary Lattimore, out March 4, 2016.

Order at The Ghostly Store: http://www.theghostlystore.com/collections/music/products/at-the-dam
Or at the retailer of your choice: https://ghostly.lnk.to/mary-lattimore-atthedam

At The Dam

Mary Lattimore - The Quiet At Night

Susumu Yokota - my energy

from the album 'semblance' available on kranky 07/20

Semblance

forma 'three-two'

From the album A Separation Of Being by JOYFULTALK

JOYFULTALK
A Separation Of Being
180gLP/CD/DL
CST150

cstrecords.com/cst150

A Separation Of Being

JOYFULTALK • "Part II - Pixelated skin"

**taken from the upcoming Zelienople album "Hold You Up", coming March 13th on Miasmah.

"For their first album in 5 years, Zelienople turns on the current time with a record of low-key decaying songs wrapped in hypnotic, driving rhythms.

The Chicago based trio is back with a stunner of an underground pop album. Their most reverb heavy bombast is gone in favour of pure earth bound intimate tunes that feel like they summon the spirit of the late Mark Hollis. Shrouded tribal percussion and rippling vocals are at the forefront, while looped atmospheres echo in the distance.

Since the release of their last album, vocalist Matt Christensen has been known for pouring his soul out in countless bandcamp releases of singer/songwriter, experimental and ambient offerings. It's hard to keep up with him, but one can't but to admire the dedication and extremely high quality of it all. Mike Weis on the other hand is less prolific, but has become a focused student of Korean Shaman and Buddhist music, often performing in zen based percussive rituals when he's not involved in side projects of improvisational music. Brian Harding is perhaps the most anonymous of the three, yet he is the steady, grounding element on bass that keeps them as one. Together, they create a beautifully realised own voice that feels especially close on their new album. Hold You Up is like a slow walk through a withering world, though one with a sense of refuge. This is music with heart - navigating darkness through light."

Hold You Up

Zelienople - You Have It

Independent record label based in London.  2009 - present day.