echoes and reverberations

Another label who’ve been slightly overlooked in recent times during various disappearance acts by ourselves have been the A Year in the Country collective, alas as is usual around these here parts, we’ve probably mislaid an email or three with the all-important downloads for recent releases. Anyway, waffling aside, latest entry to their formidable archive of psycho-geographical field reports ‘echoes and reverberations’ is a ‘mapping of real and imaginary film and television location.’ the theme, consistent with the ongoing investigation into parallel occurrences, altered histories, time splinters and dimensional fractures, delves ever deeper into the shadowlands of early 70’s cold war paranoia from whence secret Governmental sects and sinister corporations began to twist, alter and diffuse perceptions creating an era of post truth, collective amnesia and subterfuge. The report gathers together ten like-minded seekers of the truth, five of which are showcased on the preview page of the labels band camp site. Stepping first to the plate, Grey Frequency with ‘king penda’. Pressed with a softly surging wide screen aspect, ‘king penda’ deftly looms with impacting grace, much like some celestial watcher in the skies approaching, arriving and eventually departing our solar postcode, its pulsating kosmische toning emanating both a curiously radiance which at once serves as a mixed messenger herald of tranquil peace like welcoming or else a foreboding dark shadow of portent. Alas the Heartwood track is still out of my ear line, until that is, I manage to find that press release email, however, happily the Pulselovers track is intact, with an album currently simmering on a studio back ring awaiting release through,, did I read correctly, Castles in Space, ‘the edge of the cloud’ featured here, is a more considered sonic approach to previous encounters showing the collective maturing and growing in stature, this one applied with a beautifully distant solitary, one of those sitting at the beach front or perched from some lonely high point, observing nature in its intimate rift, the lush chamber perspective drenching all in a magical faraway intimacy, just paused, alone and reflecting. Been a while since Listening Center troubled these musings, the absence suitably undimmed by the emergence of the Gaellic ghost folk apparition like ‘from Bull Island to Avondale’, utilising ultra-minimal brush strokes, there’s an eerie ethereal emerging here, the spoken word recitals woven into the spectral tethering of field recordings and the solemn sewing of a dream like hymnal reverence, gather and drift with an epitaph like effect. ‘gone away’, Sproatly Smith’s contribution comes fashioned in dream like interludes, one minute ice sculptured formations gently awakening in states of defrost, the next, brief rustic folk cascades filtering in and out of a twilight hazy, both haunted and tethered by a sinister eerie woozing overhead, the somewhat gloomed stillness giving way at its finale to a brief joyful clearing whereupon the darkness dissipates and a rustic radiant gently settles. last up for this brief observation, Depatterning step in with ‘the ogham stones’, a deceptively odd and hitherto charmed slice of mystic isolationism threaded in spectral bowed arrangements that serve to give a lost ancient voice to these silent monoliths, something I’m minded to say, that may well appeal to admirers of a youthful Stylus.

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