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vkconcert
wzl-lid
Sinds 12/9/2006
T: 6
R: 0
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12/9/2006 -
17:49u
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30.09.06
MUSIC INTERACTING WITH PLANETARIUM PROJECTIONS
LIVE AT PLANETARIUM OF THE ROYAL OBSERVATORY
AV. DE BOUCHOUT/BOUCHOUTLAAN 10
1020 BRUSSELS (atomium/heizel)
TYPE RECORDS LABELNIGHT
HELIOS
DEAF CENTER
"Please file under glorious." - Tastyfanzine
"Brimming with slowly evolving detail and blooming melody. " - Cyclic Defrost
"A fervent and nostalgic confluence of Kenniff's two distinct styles and yet another essential release from the Type label." - Igloomag
"A protracted sunset of an album guaranteed to see you through the longest days of summer and into the twilight of the autumn." - The Wire
"11 wordless, dream-drenched vignettes whose influences are known only to Kenniff" - Seattle Weekly
HELIOS Keith Kenniff mustn’t sleep at all, after releasing the incredible Goldmund album ‘Corduroy Road’ for Type early in 2005 he was already busy at work crafting his second record as Helios; all this while finishing a degree at the acclaimed Berklee College of Music in Boston! ‘Eingya’ is very different from his work as Goldmund, as it incorporates not only his piano playing, but his delicate touch on guitar, drums and his masterful electronic production. It is an album of wordless songs, eleven carefully measured movements, each holding inside it an entire movie’s worth of emotion. Beginning the album on a high with the pastural beauty of ‘Bless This Morning Year’ we witness a showcase already of what Kenniff does best; hearbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno’s ‘Apollo’. Moving on we are treated to the appetising ‘Halving the Compass’ which blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album’s clear highlight – ‘Dragonfly Across an Ancient Land’; an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album which could as easily appeal to fans of Nick Drake as fans of Boards of Canada or even early Air; this truly has something for everyone. To put it simply – it’s gorgeous.
DEAF CENTER After the critical acclaim of their ‘Neon City’ EP, ‘Pale Ravine’ is the long awaited full-length realization of Erik Skodvin and Otto Totland’s musical ideals. Taking up where ‘Neon City’ left off with it’s epic sound collages and textural soundscapes, ‘Pale Ravine’ manages to provide a sound altogether more Lynchian and grimly cinematic. Using influences from further back in their lives, the two Norwegian musicians have looked deep into their own family histories to piece together a dusty and nostalgic epic.
Inspired by old silent 8mm film reels, the historical architecture around them and the call of the alluring Norwegian landscape, the duo set out armed with microphones to record whatever they could to capture these feelings. Sounds from battered old records, cash registers, broken machines and a half-dead piano were all blended into the mix to add a warm, homely depth to the recordings. These sounds are most evident in the track ‘Loft’, where knocks and wooden creaks give an almost claustrophobic feel to the music. Again on ‘The Clearing’ a subtle field recording gives the track a rich and involving background and helps build up the mysterious aura before launching a skewed 1930s circus-waltz.
vkconcerts
Schoolstraat 76
1080, Brussel, Belgie
Telefoon: 02 414 29 07
Fax: 02 410 57 52
Email: vkconcerts@skynet.be
Web site: http://www.vkconcerts.be
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