grantby

there’s been much fevered chat in recent weeks over the appearance on the Static Caravan schedules of a Grantby release. No fuss, no fanfare and no information, was this the same Grantby who over 20 years ago seduced the more eclectic club land with ‘timber’ – a noire glitch sophisticat that borrowed daintily from John Barry’s ‘capsule in space’. Such was its demand across compilations and TV backdrops, remix work soon beckoned for Dan Grigson and beyond a new track aired in ’99 entitled ‘the Jonah’, the creative well had seemingly dried. Fast forward to 2016 and out of the blue ‘EP2’ – ‘the beast system’ EP appears, 5 tracks, 12 inch release, 300 copies – Grigson now accompanied by Richard Purvis on guitar and Zane Scott on drums emerging as though never away picks up the threads in fine style creatively turning and phrasing moods and emotions with such elegance of poise, pause and space. The tracks on this promo are unlisted, apart from the opening cut – more on that in a second, they come from a secret place much like lost starry salutes caught in a time fracturing loop traced and touched in a sepia trimmed reflection all seductively kissed in a touching sweet melancholy. track one opens the set – obviously – as though unpeeling the layers of days, weeks and years since his last sonic venture, it reverses at quick time rewinding the tape to a furiously splintering and pulsating motorik grind before stopping abruptly to bleed into track 2 – from the moment the glacially tinged harp flurries appear into ear view, arrival is established, the delicacy accentuated by the softening swirl of lushly caressing string corteges and the ghostly ethereal siren-esque vocals impart of a woozy dream like aura slickly toned as though a seductive oriental mirage. Dimming the lights further track 3 with its down tempo arrangements and smokey 90’s Bristol sound suave cultures an atmospheric chic that’s sprayed in shadowy jazz noir tones reminiscent of a late 90’s Plaid and Orbital as though perhaps touched by the gracefall of Moby. However all said, as ever the case with these things, the best moments are tucked to the rear of the set with the appearance of Tracks 4 and 5, the former stilled in a frosted elegance, frailly defrosts amid a beautifully reflective neo classical framing where found perched the forlorn shimmer of key twinkles tremble with a resonating cautious murmur much like an ice sculptured Antonymes while the latter, the best moment all said, a lonesome love note echo fast approaching its oncoming demise and a final silence, gathers itself for one last time sweetly opining its tenderly bruised lullaby into the darkening remote void and imploding though not before sun bursting into one last flurry of euphoric activity, very Grails indeed and absolutely emotionally flooring. Scarcely a dry eye in the house i can tell you.

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