From the opening notes, an evocativeness emanates, and pervades throughout the album’s two long songs. We are reminded of scenes from film noir, where there exists a mundanity, or boringness, yet filled with tension or awkwardness. This tension may bring as well a sense of stillness, or stasis, from which a sense of peace or timelessness may be obtained.
We recommend listening to this album while not doing much, maybe looking out a window, or on a walk around your neighborhood, on repeat as you drift off to sleep, letting it seep in without too much focus on either listening, nor on another activity. Ida adds an introspection yet found in the Weird Ear catalogue and we are honored to be able to bring it to your ears, which we hope are open to this charmed work.
Owen Stewart-Robertson is, among other things, a native of Saint John, New Brunswick, Canada, a guitarist, composer, educator, performer, a mild claustrophobic, a participant in ensembles including VaVatican, Old Salt, This Sporting Life, Evelyn, Teenage Burnout, Make A Circus, Jason Ajemian’s HighLife and Folklords, Katherine Young’s Pretty Monsters, and an enthusiast of enthusiasm.
credits
released November 20, 2016
mixed by Shawn Alpay
mastering by Wayne Peet
cover by Phillip Maisel
Large group extended-technique/prepared instrument improvisation that puts itself under the microscope and shares what they find through their music and detailed and extensive essays. Weird Ear Records
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It's as if I'm standing in a foggy field, but I can feel the sun warming me still, somehow, despite the sky being completely cloudy and overcast. Stranger still, I'm content here, not afraid or even curious, but happy to just stand still, surrounded by the alien warmth. Then, I close my eyes, as if to look inward, into some deeper space and time beneath the terrestrial, an ink black sky under the Urth, opening downward. At last, a voice, barely emanating from a small radio - contact. Tom Rimshot