Three Lobed Recordings
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{"id":7720693596410,"title":"Body\/Dilloway\/Head \/\/ s\/t LP","handle":"bdh","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eKim Gordon(Sonic Youth)とBill Nace、Aaron Dillowayが、2021年11月に\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThree Lobed Recordingsからリリースした共作レコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eダウナーなギターにDillowayの蛇行テープが絡まった3曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=28618681\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eText \/ Review by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eMatt Krefting, 2021\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"This record is the most head-on excavation of temporal fallibility that I’ve heard in a very, very long time.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAaron Dilloway operates as a solo artist, but collaborates ceaselessly, whether as a former member of Wolf Eyes or in innumerable other contexts. Body\/Head is the duo of Kim Gordon and Bill Nace. Nace has charted an iconoclastic trajectory as a freewheeling improviser and composer on his own and in group settings. Gordon, best known as a member of Sonic Youth, was always active outside that band during its existence and continues to expand her tireless horizons since its dissolution.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTo put it plain, on Body\/Dilloway\/Head there are guitars and vocals and magnetic tape and amplification. These elements interact with the aid of effects machines. But the technical aspects of how it was crafted matter not a whit. Plus, any attempt to describe the nature of this particular collaboration is fraught. It’s impossible to say where lines might get drawn, because there simply aren’t any. Even the boundaries between processing and playing are erased. Every time it sounds like Aaron Dilloway processing Body\/Head, you blink or turn your head and it sounds like Body\/Head playing Aaron Dilloway. You can sift back through the tributaries of this formidable\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e collective discography and be just as flummoxed. The similarities and the distinctions are endless. It’s impossible to tell where one stops and the other starts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe shifts in the pieces can seem to come out of nowhere. Over and over one gets the sense that the music is trying to wake itself from a dream. Gordon and Nace’s guitars churn against Dilloway’s serpentine loops and squealing treatments. The components entwine like brambles, crawling and building, moving even when seeming to rest.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt starts with a low hum and some garbled murmurings. Birth should have been like that, you might find yourself thinking. It threatens to start. It halts. It holds. It hovers. It lurches. Dilloway’s hand looms large, and after a while, the familiar pulse of Nace and Gordon’s guitars enters, and as soon as you start to orient yourself, you’re lost again. The atmospheres melt into one another. The piece arcs slowly. Plateaus and vistas. This is the side-long lead-off, “Body\/Erase.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFlip the record over.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Goin’ Down” is almost plaintive in feel, yet mathematical in structure. There’s something about the way it occurs in time. There’s a place somewhere in the brain (mine, at least) where the wide open vistas of desert highways and the compulsive interior pressure of insomniac experience meet and twirl and dance and laugh and shudder. It’s exhausting and exhilarating, familiar and strange, terrifying and comforting, but it’s the only place I’ve ever been that seems like a deity might be nearby, so it’s cool to find a track that evokes that.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Secret Cuts” starts off like a sentient machine breathing heavily in the summer heat, and then begins to subsume itself many times over. Fragments of Gordon’s vocals flutter in and out, traversing blurred clouds. Amp noise gurgles. Guitar loops stutter. The piece builds to a shimmering mirage, then nose-dives into still black waters and shorts out like a downed power line. If disquieting drama appeals to you, the notion has perhaps here reached its sonic peak.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOne of this music’s many pleasures is the inability to identify specific emotions within it, despite the undeniable emotional responses it elicits. These are memories of moods, nascent feelings we haven’t grown into yet. This record is as disorienting a listening experience as you’re likely to encounter these days, and in a world this fucked up, that’s really saying something. Handle with care.\"\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Body\/Dilloway\/Head\u003c\/p\u003e\n\u003cp\u003eLabel : Three Lobed Recordings\u003c\/p\u003e","published_at":"2022-09-04T09:26:53+09:00","created_at":"2022-08-29T16:30:00+09:00","vendor":"Tobira Records","type":"","tags":["lp","monooto","new","Three Lobed Recordings"],"price":364000,"price_min":364000,"price_max":364000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":43172774510842,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Body\/Dilloway\/Head \/\/ s\/t LP","public_title":null,"options":["Default Title"],"price":364000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di1_e85375fe-4d5e-4bcc-a7e9-150af44c39f2.jpg?v=1661758201","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di2_37c5acd3-2b32-4d74-b0db-ab658c27ae3b.jpg?v=1661758202"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di1_e85375fe-4d5e-4bcc-a7e9-150af44c39f2.jpg?v=1661758201","options":["Title"],"media":[{"alt":null,"id":30372837982458,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di1_e85375fe-4d5e-4bcc-a7e9-150af44c39f2.jpg?v=1661758201"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di1_e85375fe-4d5e-4bcc-a7e9-150af44c39f2.jpg?v=1661758201","width":700},{"alt":null,"id":30372838015226,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di2_37c5acd3-2b32-4d74-b0db-ab658c27ae3b.jpg?v=1661758202"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/di2_37c5acd3-2b32-4d74-b0db-ab658c27ae3b.jpg?v=1661758202","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eKim Gordon(Sonic Youth)とBill Nace、Aaron Dillowayが、2021年11月に\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThree Lobed Recordingsからリリースした共作レコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eダウナーなギターにDillowayの蛇行テープが絡まった3曲を収録。DLコード付属。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=28618681\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e--------------------------------------\u003c\/p\u003e\n\u003cp\u003eText \/ Review by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eMatt Krefting, 2021\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"This record is the most head-on excavation of temporal fallibility that I’ve heard in a very, very long time.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eAaron Dilloway operates as a solo artist, but collaborates ceaselessly, whether as a former member of Wolf Eyes or in innumerable other contexts. Body\/Head is the duo of Kim Gordon and Bill Nace. Nace has charted an iconoclastic trajectory as a freewheeling improviser and composer on his own and in group settings. Gordon, best known as a member of Sonic Youth, was always active outside that band during its existence and continues to expand her tireless horizons since its dissolution.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eTo put it plain, on Body\/Dilloway\/Head there are guitars and vocals and magnetic tape and amplification. These elements interact with the aid of effects machines. But the technical aspects of how it was crafted matter not a whit. Plus, any attempt to describe the nature of this particular collaboration is fraught. It’s impossible to say where lines might get drawn, because there simply aren’t any. Even the boundaries between processing and playing are erased. Every time it sounds like Aaron Dilloway processing Body\/Head, you blink or turn your head and it sounds like Body\/Head playing Aaron Dilloway. You can sift back through the tributaries of this formidable\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e collective discography and be just as flummoxed. The similarities and the distinctions are endless. It’s impossible to tell where one stops and the other starts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe shifts in the pieces can seem to come out of nowhere. Over and over one gets the sense that the music is trying to wake itself from a dream. Gordon and Nace’s guitars churn against Dilloway’s serpentine loops and squealing treatments. The components entwine like brambles, crawling and building, moving even when seeming to rest.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt starts with a low hum and some garbled murmurings. Birth should have been like that, you might find yourself thinking. It threatens to start. It halts. It holds. It hovers. It lurches. Dilloway’s hand looms large, and after a while, the familiar pulse of Nace and Gordon’s guitars enters, and as soon as you start to orient yourself, you’re lost again. The atmospheres melt into one another. The piece arcs slowly. Plateaus and vistas. This is the side-long lead-off, “Body\/Erase.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFlip the record over.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Goin’ Down” is almost plaintive in feel, yet mathematical in structure. There’s something about the way it occurs in time. There’s a place somewhere in the brain (mine, at least) where the wide open vistas of desert highways and the compulsive interior pressure of insomniac experience meet and twirl and dance and laugh and shudder. It’s exhausting and exhilarating, familiar and strange, terrifying and comforting, but it’s the only place I’ve ever been that seems like a deity might be nearby, so it’s cool to find a track that evokes that.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Secret Cuts” starts off like a sentient machine breathing heavily in the summer heat, and then begins to subsume itself many times over. Fragments of Gordon’s vocals flutter in and out, traversing blurred clouds. Amp noise gurgles. Guitar loops stutter. The piece builds to a shimmering mirage, then nose-dives into still black waters and shorts out like a downed power line. If disquieting drama appeals to you, the notion has perhaps here reached its sonic peak.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOne of this music’s many pleasures is the inability to identify specific emotions within it, despite the undeniable emotional responses it elicits. These are memories of moods, nascent feelings we haven’t grown into yet. This record is as disorienting a listening experience as you’re likely to encounter these days, and in a world this fucked up, that’s really saying something. Handle with care.\"\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Body\/Dilloway\/Head\u003c\/p\u003e\n\u003cp\u003eLabel : Three Lobed Recordings\u003c\/p\u003e"}
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Kim Gordon(Sonic Youth)とBill Nace、Aaron Dillowayが、2021年11月にThree Lobed Recordingsからリリースした共作レコードです。 ダウナーなギターにDillowayの蛇行テープが絡まった3曲を収録。DLコード付属。 -------------------------------------- Text / Review by Matt Krefting,...
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{"id":7720693825786,"title":"Eli Winter \/\/ Eli Winter LP","handle":"elwist","description":"\u003cp\u003eアメリカ・シカゴのギタリストEli Winterが、2022年8月に同国ノースカロライナのフォークレーベル\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThree Lobed Recordingsからリリースしたセルフタイトルアルバムです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e牧歌アメリカーナ〜アンビエントフォーク6曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=200187884\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e----------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eText by James Toth:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Chicago-based guitarist \/ composer Eli Winter’s new self-titled album finds him building on the promise of his recent records—like 2020’s Unbecoming and his 2021 collaboration with Cameron Knowler, Anticipation—with a gem of an album on which he leads an ad-hoc group that delicately balances a range of colors and moods. Winter is an accomplished player with impeccable technique and an unassuming virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on Eli Winter he frequently plays a supporting role, creating ample room for his collaborators. The result is the sound of an artist escaping any lingering shadows of his primary influences and coming into his own; ironically, Winter does this by deemphasizing his role as traditional bandleader. Assisted by a murderer’s row of peers and contemporaries including Cameron Knowler, Yasmin Williams, David Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter showcases a compositional depth and authoritative skill only hinted at on Winter’s rightfully acclaimed previous work.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“For a Chisos Bluebonnet” begins the album on a perky and playful note, placing Winter in conversation with guitarist Knowler and pedal steel dynamo Sam Wagster, displaying in microcosm the\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e dialectical, sympathetic collaborative language that is a hallmark of the album. The sound, largely captured by engineer Cooper Crain, is light and tight, with a panoramic clarity that renders the music lifesize. “Davening In Threes” continues, at first, the galloping, exuberant feel of its predecessor, as the harmonizing guitars of Wagster, Knowler, and Winter manage to extract beauty from a bluegrass breakdown tempo. Then, suddenly, Williams joins the trio for an interlude of harmonics before the suite concludes with a martial third act in 6\/8 time. At this point it’s as if Winter begins to intuitively worry that all this prettiness is making us a tad too comfortable. The antidote arrives in the form of the dark-hued “No Fear,” which sounds like a prelude to a showdown; the slow-burn improvisation blends Wagster’s slingshots of whinnying pedal steel, Jordan Reyes’ rangy synthesizer scramble, and all manner of tube-sizzling, tremolo bar scree by Winter, Knowler, and Walker. The track provides no catharsis but rather hums with a sustained, agitated intensity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide two begins with the pastoral post-rock of “Brain on Ice,” a soaring piece almost tender in its elegance, punctuated by the telepathic rapport of Damon’s percussion and Knowler’s nimbly ruminative acoustic guitar. “Dayenu” sounds at first as if it were composed on a commission or a dare to convey in sound a twinkle of the eye, before its fake-out ending pivots to a dramatic crescendo of branch’s proclamatory flugelhorn, Knowler’s rabbit-punch guitar interjections, and a shower of cymbals courtesy of Damon. The album saves the best for last, in the form of “Unbecoming,” which features Winter on 12-string guitar alongside Grubbs’ spectral harmonium and the harmonic, birdsong-evoking trills of Whitney Johnson’s viola, before gradually clearing a space for Liz Downing’s bowed banjo and a distant choir, courtesy of Downing and vocalist Giulia Chiappetta, whose lush harmonies provide the welcome and unexpected sound of heavenly human voices just as the song begins to fade, concluding the album with a tacit reminder, perhaps, that when God is busy or silent or absent, angels often pick up the slack.\"\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Eli Winter\u003c\/p\u003e\n\u003cp\u003eLabel : Three Lobed Recordings\u003c\/p\u003e","published_at":"2022-09-09T11:31:09+09:00","created_at":"2022-08-29T16:32:00+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","Three Lobed Recordings"],"price":358000,"price_min":358000,"price_max":358000,"available":false,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":43172779098362,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":false,"name":"Eli Winter \/\/ Eli Winter LP","public_title":null,"options":["Default Title"],"price":358000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el1_cbc5be75-6a03-432c-9c4a-63349711421c.jpg?v=1661758322","\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el2_4cf3975a-5c00-41a1-9dd7-22daa2fc653b.jpg?v=1661758322"],"featured_image":"\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el1_cbc5be75-6a03-432c-9c4a-63349711421c.jpg?v=1661758322","options":["Title"],"media":[{"alt":null,"id":30372842045690,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el1_cbc5be75-6a03-432c-9c4a-63349711421c.jpg?v=1661758322"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el1_cbc5be75-6a03-432c-9c4a-63349711421c.jpg?v=1661758322","width":700},{"alt":null,"id":30372842078458,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el2_4cf3975a-5c00-41a1-9dd7-22daa2fc653b.jpg?v=1661758322"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"https:\/\/cdn.shopify.com\/s\/files\/1\/0305\/1637\/9780\/products\/el2_4cf3975a-5c00-41a1-9dd7-22daa2fc653b.jpg?v=1661758322","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・シカゴのギタリストEli Winterが、2022年8月に同国ノースカロライナのフォークレーベル\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThree Lobed Recordingsからリリースしたセルフタイトルアルバムです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e牧歌アメリカーナ〜アンビエントフォーク6曲を収録。\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=200187884\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e----------------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003eText by James Toth:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Chicago-based guitarist \/ composer Eli Winter’s new self-titled album finds him building on the promise of his recent records—like 2020’s Unbecoming and his 2021 collaboration with Cameron Knowler, Anticipation—with a gem of an album on which he leads an ad-hoc group that delicately balances a range of colors and moods. Winter is an accomplished player with impeccable technique and an unassuming virtuosity, capable of both mesmerizing intricacy and florid romanticism, but on Eli Winter he frequently plays a supporting role, creating ample room for his collaborators. The result is the sound of an artist escaping any lingering shadows of his primary influences and coming into his own; ironically, Winter does this by deemphasizing his role as traditional bandleader. Assisted by a murderer’s row of peers and contemporaries including Cameron Knowler, Yasmin Williams, David Grubbs, Ryley Walker, Tyler Damon, jaimie branch, and others, Eli Winter showcases a compositional depth and authoritative skill only hinted at on Winter’s rightfully acclaimed previous work.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e“For a Chisos Bluebonnet” begins the album on a perky and playful note, placing Winter in conversation with guitarist Knowler and pedal steel dynamo Sam Wagster, displaying in microcosm the\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e dialectical, sympathetic collaborative language that is a hallmark of the album. The sound, largely captured by engineer Cooper Crain, is light and tight, with a panoramic clarity that renders the music lifesize. “Davening In Threes” continues, at first, the galloping, exuberant feel of its predecessor, as the harmonizing guitars of Wagster, Knowler, and Winter manage to extract beauty from a bluegrass breakdown tempo. Then, suddenly, Williams joins the trio for an interlude of harmonics before the suite concludes with a martial third act in 6\/8 time. At this point it’s as if Winter begins to intuitively worry that all this prettiness is making us a tad too comfortable. The antidote arrives in the form of the dark-hued “No Fear,” which sounds like a prelude to a showdown; the slow-burn improvisation blends Wagster’s slingshots of whinnying pedal steel, Jordan Reyes’ rangy synthesizer scramble, and all manner of tube-sizzling, tremolo bar scree by Winter, Knowler, and Walker. The track provides no catharsis but rather hums with a sustained, agitated intensity.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSide two begins with the pastoral post-rock of “Brain on Ice,” a soaring piece almost tender in its elegance, punctuated by the telepathic rapport of Damon’s percussion and Knowler’s nimbly ruminative acoustic guitar. “Dayenu” sounds at first as if it were composed on a commission or a dare to convey in sound a twinkle of the eye, before its fake-out ending pivots to a dramatic crescendo of branch’s proclamatory flugelhorn, Knowler’s rabbit-punch guitar interjections, and a shower of cymbals courtesy of Damon. The album saves the best for last, in the form of “Unbecoming,” which features Winter on 12-string guitar alongside Grubbs’ spectral harmonium and the harmonic, birdsong-evoking trills of Whitney Johnson’s viola, before gradually clearing a space for Liz Downing’s bowed banjo and a distant choir, courtesy of Downing and vocalist Giulia Chiappetta, whose lush harmonies provide the welcome and unexpected sound of heavenly human voices just as the song begins to fade, concluding the album with a tacit reminder, perhaps, that when God is busy or silent or absent, angels often pick up the slack.\"\u003c\/span\u003e\u003c\/em\u003e \u003c\/p\u003e\n\u003cp\u003eArtist : Eli Winter\u003c\/p\u003e\n\u003cp\u003eLabel : Three Lobed Recordings\u003c\/p\u003e"}
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アメリカ・シカゴのギタリストEli Winterが、2022年8月に同国ノースカロライナのフォークレーベルThree Lobed Recordingsからリリースしたセルフタイトルアルバムです。 牧歌アメリカーナ〜アンビエントフォーク6曲を収録。 ---------------------------------------- Text by James Toth: "Chicago-based guitarist / composer...
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