Comes in a white 3mm spined sleeve with paste-on two-colour risograph-printed cover, single-colour risograph printed insert, and black-and-white printed and hand-stamped labels
Includes unlimited streaming of The Nature
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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Limited cassette reissue
Cassette + Digital Album
White cassette with paint thumbprint, in homemade board-backed kraft brown box with riso-printed cover and insert. Numbered edition of 50
Includes unlimited streaming of The Nature
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
Acoustic slide guitar improvisations accompanied by external arbitrary sounds, natural and otherwise; recorded in and outside, with and without electricity, in Stockport and Stockholm, 2016–17.
'What sounds tend to get silenced in the production of a record? Sounds are a perpetual and dynamic property of all landscapes but the walls and circuits of music studios largely exclude biophonic, geophonic and anthrophonic ambient sounds. If the unintended silencing of organisms by a myriad of human activities provides yet another indication of our impact on the planet’s ecosystems should we be concerned about the role of music in normalising this silence? Jon Collin’s conscious broadening of presented sound on this record, most prominently the inclusion of ambient birdsong, sirens, and aviation noise, is not novel and it is not necessarily a response to this question. However, his guitar playing acousmatically smashes the taxonomy of sound used above. It shares palettes and forms with vocalizing and stridulating animals, wind, rain, thunder and electromechanical devices without aping them or labouring under the conceit that it might meaningfully communicate with them. It is, however, attuned to the fact that a soundscape is necessarily made up of interfering and integrated signals (some tropical birds use protracted pure tones in environments with persistent geophonic sounds of wind and rain; song sparrows sing lower, great tits higher, nightingales louder and robins at night in noisy urban environments). This approach choruses, without clarion calling, the quandary and challenge of collectively accepting responsibility for our species’ impact on the stability of ecological systems whilst understanding that we are not external to them.'
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt
The second album by French-Moroccan power quartet Bab L' Bluz is packed with dizzying melodies and rich instrumentation. Bandcamp New & Notable Feb 14, 2024