Articles

  • BELATED MOVEMENTS FOR AN UNSANCTIONED EXHUMATION AUGUST 1ST 1984 by The Inward…

    19 avr. 2015, 16h00m par majorel

    BELATED MOVEMENTS FOR AN UNSANCTIONED EXHUMATION AUGUST 1ST 1984 by The Inward Circles (Richard Skelton) on Bandcamp https://theinwardcircles.bandcamp.com/album/belated-movements-for-an-unsanctioned-exhumation-august-1st-1984
    The Inward Circles
  • BELATED MOVEMENTS FOR AN UNSANCTIONED EXHUMATION AUGUST 1ST 1984 by The Inward…

    7 avr. 2015, 13h03m par majorel

    LATED
    MOVEMENTS
    FOR AN
    UNSANCTIONED
    EXHUMATION
    AUGUST
    1ST 1984
    The Inward Circles (Richard Skelton)

    Music CD

    Date of Publication: April 2015

    Edition of 500

    "I traced
    the convolutions of
    turf, laid out by men,
    & made new windings with the mole
    through undisturbed
    barrows."

    (Ronald Johnson, 'The Book of the Green Man')

    Belated Movements for an Unsanctioned Exhumation August 1st 1984 is Richard Skelton's second album as The Inward Circles, following 2014's Nimrod is Lost in Orion and Osyris in the Doggestarre. If his previous offering hovered 'between the empyreal and the subterranean', Belated Movements is resolutely earthbound, beginning at ground level and slowly moving ever downward. The title is a reference to 'Lindow Man', one of many bog bodies discovered in northern Europe in the twentieth century, and continues an archaeological theme which first surfaced in his 2013 *AR collaboration with Autumn Richardson, entitled Succession. In particular, it is the last composition from that album, Relics, which can now be seen as starting point for much of Skelton's future work as The Inward Circles. But whereas Relics dealt with the pollen remnants submerged beneath tarns in the remote Cumbrian uplands, Buried Movements evokes a distinctly funerary landscape.

    The first piece, Petition for Reinterment begins in familiar terrain - a slow, solemn string elegy - but it gently begins to disintegrate, to distend and rot, as if the music itself is being subsumed in soil and subjected to the natural cycles of decay and renewal. It is interesting to note that, whilst the skin of bog-bodies is often very well preserved, the bones undergo a process of decalcification - they literally dissolve from within. But exhumations such as 'Lindow Man' are now artificially preserved behind museum glass, removed from time, from earthly contact and the inexorable progress of nature itself.

    By contrast, the music of Belated Movements continues its inner transformation, and To Your Fox-Skin Chorus divulges more of its innards, revealing hitherto unheard melodic, rhythmic and textural material. The reference to fox-skin, borrowed from Edmund Gosse, alludes to the fox-fur arm-covering found on 'Lindow Man', and, more obliquely, to the fox as a psychopomp - a soul guide - which formed a central theme in Skelton's recent Feræ Naturæ book and exhibition.

    The album concludes with a further downward delving to the bones of animals long made extinct in England by humans: the wolf, lynx and bear - animals that haunt the popular imagination. Here the music is at its most restless and forbidding, as it ends with an urgent call - Canis, Lynx, Ursus: Awake, Arise, Reclaim. There is a palpable sense, with its almost unbearable crescendo, of a rising up, a return to the surface, and a threatening quiet.

    BELATED MOVEMENTS FOR AN UNSANCTIONED EXHUMATION AUGUST 1ST 1984
    by The Inward Circles

    1. Petition for Reinterment
    2. To Your Fox-Skin Chorus
    3. Canis, Lynx, Ursus: Awake, Arise, Reclaim

    Total Running Time : 60mins

    Order: http://www.corbelstonepress.com/belatedmovements.htm

    Excerpts: https://soundcloud.com/thecirclingin/belated-movements-for-an-unsanctioned-exhumation-august-1st-1984-excerpts




    The Indward Circles
    Richard Skelton
  • konzert: ryan lee crosby / thisell, 16.03.15

    28 mars 2015, 17h10m par klienicum

  • Diagrams for the Summoning of Wolves by *AR

    2 fév. 2015, 14h42m par majorel

    Available today on Bandcamp
  • NIMROD IS LOST IN ORION AND OSYRIS IN THE DOGGESTARRE by The Inward Circles (new…

    20 déc. 2014, 15h05m par majorel

  • NIMROD IS LOST IN ORION AND OSYRIS IN THE DOGGESTARRE by The Inward Circles (Richard…

    10 sept. 2014, 8h26m par majorel

    —That night destroyed me like an avalanche;
    One night turned all my summer back to snow.'

    (Christina Rossetti)

    Richard Skelton's first solo album in two years is preoccupied with 'the great volume of nature', its delicacy and violence, light and dark, solace and psychological burden. The music hovers between the empyreal and the subterranean, and - framed by the accompanying book of texts, art and photography - offers what Skelton describes as a 'picture of a wood through which slanting light dimly traces other forms'.

    Nimrod presents the idea of music - not as the distillation of a specific place (as in works such as Landings and Ridgelines), but as a relic of an imaginary landscape; a series of notional artefacts:

    'I wanted to concentrate on sound as a material presence - to explore it as a substance that might endure weathering, to reveal layers of harmonic till with outcrops of more obdurate material; moraines of static, veins of melody.'

    The tremulous strings that characterised much of his earlier work have all but disappeared as the music is divested of ornament, revealing the coarse grain of its underlying substrate: a dark mass of shifting tonal colours suffused with filigree detail.

    The excerpted texts that make up the accompanying book come from a range of sources, united by a hyper-sensitivity to nature itself; a desire to understand and come to terms with its 'hidden state'. They are figures in the landscape, some of whom construct elaborate systems of classification and natural philosophy, others who seem wounded by their very affinities, and others still who seem lost, or are institutionalised. The tone of the work as a whole - which finds its analogue in the music - is aptly evoked in Gerard Manley Hopkins' poignant phrase: 'nature in all her parcels and faculties gaped and fell apart'. There is a sense of things on the verge of collapse, of despair and regret.

    NIMROD IS LOST IN ORION AND OSYRIS IN THE DOGGESTARRE
    by The Inward Circles

    1. The Organs are Destitute of Sense
    2. Ancient Arithmetic of the Hand
    3. Glimpses of the Empyreal Light
    4. An Art to Make Dust of All Things
    5. Two Opposed Leaves at the Root
    6. The Soul Itself a Rhombus
    7. And in Their Groves of the Sun This Was a Fit Number
    8. From Animals Are Drawn Burning Lights

    Total Running Time : 59mins
    All titles from Thomas Browne's Urn Burial / Garden of Cyrus

    Richard Skelton

    Preview

    Available to pre-order on Corbel Stone Press
    http://www.corbelstonepress.com/nimrod.htm
  • SEQUENCE8 by Various @ Futuresequence

    20 août 2014, 20h48m par majorel

    Digital Album
    Free Download SEQUENCE8



    1.

    Dag Rosenqvist - And we let go because we must 06:34




    2.

    Siavash Amini - The Rivers Stood Still 06:31



    3.

    strië - Aurorae 04:15



    4.

    Sophia Loizou - Ghost Box 07:04



    5.

    Monolyth & Cobalt - Ohm / Continuum 07:14



    6.

    Zenjungle - Tre Passi 06:28



    7.

    My Home, Sinking - Along the Pipeline 06:16



    8.

    Kevin Verwijmeren - It's not where you go 07:38



    9.

    Endless Melancholy - Amber 06:38



    10.

    Mendel Kaelen - Śūñayaca-tāla 09:41



    11.

    Abul Mogard - Everything I Imagined Had Been Forgotten 14:44



    12.

    Ghost and Tape - Return 06:19



    13.

    Matthew Collings - The Resolve of the Flame and the Bullet 02:52



    14.

    Monadh - Kodama 08:48



    15.

    an.rost - allt 03:18



    16.

    Eeem - Last ride across a damaged Bifrost 07:03



    17.

    Radere - Blood Is Slow 09:47



    18.

    Tegh - Nothing But You 06:04



    19.

    Funeral Fireworks - Waste The Light 04:51



    20.

    A.R.C Soundtracks - The Pomona Comet 05:55



    21.

    Alex Kozobolis & Harry Edwards - Dogmatise 10:50



    22.

    Cétieu - Lost In Translation 07:20



    23.

    Andagainandagain - Oo 07:29



    24.

    Capac - Kirlian 04:37



    25.

    Nutedfoy - Fragments 05:04



    26.

    Maiya Hersey - A Human Being is a Human Dreaming 05:56



    27.

    Five Minutes Alone - Boarderlands 04:32



    28.

    Petrels - Euglossa Dilemma 11:34


    View track/artist commentaries here:
    http://www.futuresequence.com/sequence8/

    This is the last edition of our free download compilation series. After 3 years, 310 tracks and 27,000 downloads it felt like the right time to end things. The process of receiving and curating submissions has been at times a mammoth task, but always enjoyable. Introducing us to a range of new artists, some of who went on to release individual works with us, SEQUENCE has been integral to the development of Futuresequence into a label.

    A huge thank you to all the artists who have submitted tracks for each of the albums - those whose appeared and those who didn't. Thanks once again to friends Pascal Savy, Ed Hamilton and Karl McGrath who gave their time and ears to listen to all 200 or so submissions and help curate the final tracklist you see here.

    Thank you for listening, and supporting us over the past 3 years. We hope you enjoy the album, please do share on your networks, this really does help with its success and brings these artists to new ears.
    credits
    released 20 August 2014

    Curated by Ed Hamilton, Karl McGrath, Pascal Savy and Michael Waring
  • konzert: orange blossom special festival 18, teil 6 und 7

    15 juin 2014, 18h33m par klienicum

  • konzert: orange blossom special festival 18, teil 1 - 5

    12 juin 2014, 13h02m par klienicum

  • konzert: neutral milk hotel, 01.06.14

    12 juin 2014, 12h59m par klienicum

    wahrscheinlich müßig, jeff mangum auseinanderzunehmen. der fast mitvierziger zeichnet u.a. für die gründung der the elephant six recording company verantwortlich. eine plattform, von der sich zig erstaunliche bands und projekte erhoben. nicht zuletzt in berührung gekommen mit Neutral Milk Hotel, dem unumwunden mangum als kopf und songschreiber vorsteht. seine von zweifeln befreite lyrik sollte ihm mit zwei alben abhanden kommen. vielleicht auch ein grund für das abwenden von der musikalischen karriere mit dieser band, der so viele lorbeerkränze gebunden wurden. nun ist der amerikanische vierer seit dem letzten jahr wieder aus der versenkung aufgetaucht, und mangum zeigt sich mit neuen einsichten und erkenntnissen. dabei sind die lieder jedoch die selben geblieben. ein verwirrspiel. wie so vieles rund um eine band, die zur rechten zeit am rechten ort war, und die sich zum vorbild emporschraubte für nachfolgende künstler, die oft genug handwerklich versierter, aber nicht ideenreicher, kreativer waren.

    die münchner kammerspiele waren satt gefüllt, freie plätze waren auszumachen, obwohl der verkauf der karten frühzeitig eingestellt werden konnte. der laue abend versprach eventuell manchem mehr als nur in nostalgie zu baden. neben dem schwer bebarteten mangum traten an: scott spillane mit weißem rauschebart, kein ungewohntes bild bei ihm, der die hörner bediente oder die akustische und der stets, seinen chef soufflierend, jeden text bis in die letzte strophe mitsang. gleichsam ist seine enthusiastische und befeuernde art des spiels unverkennbar und einzigartig. auch an diesem abend war er ein sehr belebendes element. wer ihn zwischenzeitlich vermisst hatte, hätte ihn bei olivia tremor control, bei of montreal oder elf power, aber auch bei seiner eigenen band the gerbils antreffen können.

    hinter den beiden genannten thronte jeremy barnes an den drums. auch er ist ein umtriebiger musiker und wohl am besten einzuordnen, wenn man an seine rolle bei a hawk and a hawksaw denkt. sein spiel ist ein geradezu harmonisch melodisches, wenn er zwar mit verve und doch fast ausgleichend zärtelnder art auf sein kleines drumset einhob. vor ihm, sich stets im kreise drehend, agierte julian koster, dem man die jugendlichkeit wohl nie wird aus den gesichtszügen reissen können. mit einer spinnerten haube auf dem kopf behüpfte er, während er das banjo, das akkordeon oder den bass bediente, die weitläufige bühne. auch für die singende säge zeichnete er verantwortlich, die dem sound von neutral milk hotel einst eines seiner markenzeichen verlieh. die bandvorstellung muss mit jeremy thal abschließen, der den vierer als bassist und trompetist ergänzte und der ganz sicher mehr als nur den klangraum abrundete.

    weiter hier: http://dasklienicum.blogspot.de/2014/06/konzert-neutral-milk-hotel-010614.html

    So., 1. Jun. – Neutral Milk Hotel