Premiere: “Monument” by Still Life

Still_Life_Press_ImageProvidence, RI-based composer/producer Daniel Fine is poised to release his sophomore full-length album under the moniker of still life next month on Hush Hush Records, a Seattle-based label curated by KEXP-FM DJ & Pacific Notions show host Alex Ruder. ‘for a long time time i went to bed early‘ is a kaleidoscopic montage of reflection and memory that revolves around crystalline piano lines, prismatic textures, shimmering electronics, cinematic vignettes featuring strings and trumpet, euphoric post-rock crescendos, samples, found sounds, and spoken word.  The constant shifting of mood, pace, and color is reflective of life itself exactly as Fine intended when he started working on the album.

“This album has been a project that’s consumed my life since January of this year and has served as a sort of “emotional grounding” as I’ve gone through a lot of big changes in my life. It’s full of really quiet and really loud moments, messy moments, somber moments, joyous moments, and everything in between. It’s a bit lo-fi, a bit noisy – it’s a bit of a diary for all of my thoughts and emotions and places I’ve been and experienced.” – Daniel Fine aka still life

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Premiere: “Sun Release” by Heron

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Hailing from the wilds of Pennsylvania’s northwest, instrumental quartet Heron arrived on the post-rock scene like a rush of fresh mountain air with their 2017 debut album You Are Here Now, Right out of the gate, they showed a penchant for melodic invention, infectious energy, and exhilarating arrangements with admirable attention to the nuances of space, tone, and texture.

In their second full-length record out this summer, members Ben Blick (guitar), Eric Morelli (bass), Boyd Lewis (guitar), and Nate Blick (drums) have built on that solid foundation by employing those dynamics in a more refined and expansive compositonal framework. Sun Release is a collection of great post-rock songs each of which can easily stand on its own while fitting into an overarching narrative – a single, soaring arc that spans the whole record.

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The Listening Room (March 2019)

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Image © 2013 Russell Sherwood Photography

Welcome to the listening room.  Make yourself comfortable and check out some of the latest sounds that have caught our ears as well as preview upcoming releases.  Last updated on March 23, 2019 and featuring tracks by Siavash Amini, William Ryan Fritch, Philip G Anderson, Sōzuproject, Federico Mosconi, Kyle Bobby Dunn, Lowercase Noises, Heron, Ciro Berenguer, Andrew Tasselmyer, Stijn Hüwels, Jameson Nathan Jones, and Poppy Ackroyd (Hauschka rework)

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2018 Year In Review: Journeys in Post Rock, Experimental Folk & Acoustic

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A vibrant and eclectic selection where genres never define of confine, but only serve as reference points for where words fail to describe the music; a sort of musical edgeland where ambient and modern classical minimalism co-exists with acoustic, folk, electronica, post-rock, and shoegaze. 

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ALBUM STREAM: ‘La Fonte’ by Brendon John Warner

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For eight years, Brendon John Warner wrote, recorded & toured Australia with the progressive post-rock group We Lost the Sea before heading down a different musical path to pursue his growing interest in synthesis and lo-fi electronics. Beginning to pull at what he calls “a long lingering creative thread”, he dedicated himself to a “radical, contemporary musical view focused on contrasts, textures, dynamics, spatial relationships and instrumentation”. That choice and commitment have come to fruition in the form of his first full-length solo album entitled La Fonte (“The Melt”), a sprawling, kaleidoscopic electroacoustic exploration of the relationships between humanity and planet earth, ecology and economy, and climate change. Those are pretty ambitious themes to tackle in a first effort, not to mention one that clocks in at over a full hour of immersive instrumental music, but Warner says that stretching himself in this way had a significant impact on him creatively speaking.

“Both musically and thematically ‘la fonte’ challenged me to re-imagine the way I express myself through music. While storytelling through instrumental music in nothing new to me, using a broader concept of sound and composition to delve into more contemporary issues became the hallmark of what I was trying to achieve. From the use of found-sounds and sampling to blending synthesized drums with live percussion, and even a more open approach toward improvisation, this record, and the impossibly big themes it aims to explore, changed me as a musician and as an artist.” – Brendon John Warner

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Video: “Universalis” by Hammock

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On their first full-length studio album since the deeply elegiac ‘Mysterium’ a little over a year ago, the Nashville-based duo of Marc Byrd & Andrew Thompson known as Hammock find themselves following a “vertical, upward movement back toward the light”. This progression from the low places of grief toward beckoning illumination is subtly depicted on the cover of Universalis and the hopeful, healing tone of the music echoes that trajectory while hearkening back to some of the most beloved recordings in the band’s canon as well as some of their early influences. For example, one can hear the sweeping atmospheric balladry of ‘Raising Your Voice to Stop an Echo’ and the glacial stillness of ‘Maybe They Will Sing for Us Tomorrow’ alongside the orchestral neoclassical grandeur of their more recent works.

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North Atlantic Drift | Departures, Vol 2 [Sound in Silence]

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In the early stages of my discovering new realms of instrumental music (circa 2012), one of the first albums that really caught and held my attention was Canvas (Polar Seas Recordings) by North Atlantic Drift. I was mesmerized and haunted by the vast melancholic landscapes and the melding of statuesque post rock melodic structures with glacial ambient texturesFollowing in fairly quick succession with Monuments (Sound in Silence) and Resolven (Polar Seas Recordings), the project entered a relatively quiet period as members Mike Abercrombie (aka Transits of Mercury) and Brad Deschamps (aka Anthéne) worked on their respective solo endeavors and growing their Polar Seas Recordings label.

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Whale Fall – Sondersongs

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This summer marks the welcome return of instrumental collective Whale Fall with their first album in nearly four years and a glorious one it is. The sprawling vistas of The Madrean, their 2014 post-rock homage to the natural & urban landscapes of the American southwest, give way to a more broadly referential cycle of songs called Sondersongs which takes inspiration from the neologistic definition of a word found in John Koenig’s Dictionary of Obscure Sorrows:

sonder – n. the realization that each random passerby is living a life as vivid and complex as your own — populated with their own ambitions, friends, routines, worries, and inherited craziness — an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk”  – The Dictionary of Obscure Sorrows

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Video Premiere: Unimaginable Light Shines Out by The Gateless Gate

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The Gateless Gate is a music project of Allister Thompson, a singer-songwriter currently based in North Bay, Canada, who started it to explore his interests in ambient, psychedelic, post-rock, progressive and experimental music. It embraces a wide-range of influences from not only the masters of those genres, but also “kosmische musik” and the music of Central and East Asia. The albums with which I was previously most familiar were from a period several years ago when a boreal mood prevailed with such evocative, landscape-themed recordings as Near North, Sibir, and Landslag Norður Íslands. This summer, however, the project comes in from the cold and will see the release of the radiant new album Nothing Is Missing which dwells in decidedly warmer climes where the sun shines brightly and life is in full bloom.

“The aim of this music is to illustrate through sound that no matter how turbulent the times become and how hopeless life seems, underneath all the turmoil and tragedy — everything is actually all right. All is as it should be. ” – Allister Thompson 

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