FRACTURED AIR

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Posts Tagged ‘Katie Kim

ANNOUNCEMENT: Xylouris White (AUS/GRE, Bella Union) plus special guest Katie Kim (IRE) / TDC, Triskel Arts Centre, Cork / Fri. 28 Oct. 2016

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Fractured Air & Plugd Records present
XYLOURIS WHITE plus special guest KATIE KIM
TDC, Triskel Arts Centre, Cork
Friday 28 October 2016
Tickets: €15 (ORDER ONLINE HERE)

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george and jim

Xylouris White (Jim White with George Xylouris)

Xylouris White is the inspired collaboration between Greek lute player George Xylouris and the Australian, Brooklyn-based drummer Jim White. Both composers are legends in their own right, the former through his Cretan lute-led sounds of the Xylouris Ensemble, the latter through his membership of mythical Australian trio Dirty Three and myriad collaborations over the years (Nina Nastasia, Cat Power, Bill Callahan, PJ Harvey, Nick Cave, to name a few). Both have harnessed truly unique and unparalleled playing styles and levels of musicianship in their respective instruments where inspiration seems in endless supply at all times. Xylouris White create the kind of celestial, contemporary and powerful music which blurs all boundaries and constantly defies all categorization (and logic) in the process.

When Xylouris White recorded their second album ‘Black Peak’ – released via Bella Union on 7th October 2016 – this most intuitive and inquisitive of duos did what comes naturally to them: expanded their horizons. For the legendary duo, one aim was to extend a core metaphor of their ruggedly visionary debut album, 2014’s ‘Goats’. “Like goats walking in the mountain” is Xylouris’s poetic analogy for their approach: “They may not know the place, but they can walk easily and take risks and feel comfortable. Really, the goats inspired us.”

That exploratory pitch is matched by the majestic Black Peak, named after a mountain top in Crete and, says Xylouris, “recorded everywhere”. A peak in both artists’ careers, the album testifies to their determination to stretch the scope of their instruments and forge something vigorously questing from more traditional roots. Where ‘Goats’ was mostly instrumental, Black Peak gives Xylouris’s full-force baritone a lead role. And where Goats was often frisky, its tumultuous, tender and terrifically expressive follow-up drives harder and dives deeper.

http://www.xylouriswhite.com

https://www.facebook.com/XylourisWhiteBand/

katie kim

Katie Kim

One of Ireland’s finest and most intriguing songwriters, Dublin-based and Waterford-born Katie Kim has two albums to date, beginning with the 2008 debut solo album “Twelve” and 2012’s seminal masterwork, the double album “Cover&Flood”. Also available is “The Feast”, a collection of ten previously unreleased remixes of songs from “Cover&Flood” while the “VALUTS” series compiles various unreleased songs. The highly anticipated third studio album ‘Salt’ will be released on the 14th October 2016 (500-limited heavy weight vinyl can be pre-ordered here). “Salt” was recorded in a self-built recording and artist space in Dublin called Guerrilla Studios which has become an integral part of the Independent Irish music scene. Since Cover and Flood Katie has toured the Netherlands, Germany and Belgium playing mostly sold out venues.

Katie Kim has supported the likes of Low and Slint to date and her influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk. Kim’s distinctive sound is characterized by her fragile vocals, breath-taking lyricism and a constant striving for both purity and simplicity in her truly unique and utterly beguiling recorded output (akin to Grouper’s Liz Harris or early period Cat Power) casting a deeply profound spell on the listener in turn.

https://www.facebook.com/DANCEKATIEKIMDANCE/

https://katiekim.bandcamp.com/

Fractured Air & Plugd Records present
XYLOURIS WHITE plus special guest KATIE KIM
TDC, Triskel Arts Centre, Cork
Friday 28 October 2016
Tickets: €15 (ORDER ONLINE HERE)

Written by admin

September 7, 2016 at 1:58 pm

Fractured Air x Blogothèque – S1E5 | May mix

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fracturedairmix_may16

 

For May’s mixtape we are delighted to present a pair of exclusive tracks by two of Ireland’s finest songwriters: Adrian Crowley and Katie Kim.

Since his debut release at the turn of the century (“A Strange Kind”), Adrian Crowley has quietly established himself as one of the finest songwriters of his generation. With seven studio albums to date (Crowley’s most recent record is “Some Blue Morning”, released in 2014 via Glasgow-based label Chemikal Underground) Crowley’s reputation has been built upon his poetic lyricism, distinctive baritone and a natural gift for storytelling. Presented here exclusively for this mix is Adrian Crowley’s haunting cover version of U.S. folk legend Jackson C. Frank’s “Milk And Honey”.

While the Buffalo-born musician Jackson Carey Frank only released the one album during his lifetime (his Paul Simon-produced self-titled debut from 1965) Frank’s reputation has steadily grown in recent times, in no small part due to Ba Da Bing’s release of “The Complete Recordings” (2015) and the 10″ vinyl issue of “Forest Of Eden” (Secret Records, 2013), a collection of previously unreleased tracks and demos.

We’re equally thrilled to present an exclusive track by another of Ireland’s best-loved and consistently intriguing songwriters, Katie Kim (the pseudonym for Waterford-born Katie Sullivan). With two full-length albums to date (2008’s “Twelve” and 2012’s double LP “Cover&Flood”) a third LP, entitled “Salt”, is scheduled for release later in 2016. Katie Kim has supported the likes of Low and Slint to date while her diverse influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk.

Also presented in May’s mixtape is a number of long-established cornerstones to the independent music scene who have debut records for their latest projects: Four-piece Liima features Efterklang’s Mads Brauer, Casper Clausen and Rasmus Stolberg who are joined by Finnish percussionist Tatu Rönkkö. The band’s 4AD debut is entitled “ii”.
Dieterich & Barnes is the new collaboration between Jeremy Barnes (A Hawk And A Hacksaw, Neutral Milk Hotel) and Deerhoof’s John Dieterich who released their scintillating debut “The Coral Casino” on LM Duplication earlier this year.
“You + Your D.Metal Friend” is the latest improvisational project from Cico Beck (Joasihno, Aloa Input, the Notwist) and Markus Acher (the Notwist, Tied & Tickled Trio, Rayon). The duo’s debut album “Sonnier” is available via the forever-dependable German independent label Alien Transistor.

Fractured Air x Blogothèque – S1E5 | May mix

To Read/listen on La Blogothèque:

http://www.blogotheque.net/2016/05/27/fractured-air-x-blogotheque-s01e05-may-mix/

 

Tracklisting:

01. William S. Burroughs“Origin and Theory of the Tape Cut-Ups” (excerpt) (Sub Rosa)
02. Jóhann Jóhannsson“Melodia (I)” (4AD)
03. Moondog“Each Today Is Yesterday’s Tomorrow” (Columbia)
04. Mark Pritchard“Beautiful People” (feat. Thom Yorke) (Warp)
05. Tim Hecker“Music of the Air” (4AD)
06. Andy Stott“Too Many Voices” (Modern Love)
07. Kaitlyn Aurelia Smith“Envelop” (Western Vinyl)
08. Joasihno“Wondrous Sibling” (Alien Transistor)
09. Dieterich & Barnes“What” (LM Duplication)
10. Liima“Amerika” (4AD)
11. Wildbirds & Peacedrums“Soft Wind, Soft Death” (The Leaf Label)
12. Max Richter“Path 5” (Mogwai Remix / Edit) (Deutsche Grammophon)
13. Adrian Crowley“Milk And Honey” (Unreleased)
14. The Beacon Sound Choir“Drone 1” (excerpt) (Infinite Greyscale)
15. You + Your D. Metal Friend“Sonnier 6” (Alien Transistor)
16. Homeboy Sandman“God” (Stones Throw)
17. DJ Danger Mouse“Interlude” (Self-Released)
18. Dick Dale & His Del-Tones“Angry Generation” (Ace)
19. DJ Shadow“Nobody Speak” (feat Run The Jewels) (Mass Appeal)
20. Ria Bartok“Tu La Revois” (Ace)
21. Julianna Barwick“Same” (Dead Oceans)
22. Georges Delerue“Paul” (Le Mépris OST, EmArcy)
23. Katie Kim“Warm Bait” (Unreleased)
24. Christina Vantzou“Stereoscope” (Steve Hauschildt remix) (Bandcamp)
25. Marissa Nadler“Waking” (Bella Union / Sacred Bones)
26. Harold Budd“Afar” (All Saints)

Compiled by Fractured Air, May 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

http://www.blogotheque.net/
https://fracturedair.com/

Fractured Air 36: Place Of You (A Mixtape by Katie Kim)

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One of Ireland’s finest and most intriguing songwriters, Dublin-based and Waterford-born Katie Kim has two albums to date, beginning with the 2008 debut solo album “Twelve” and 2012’s seminal masterwork, the double album “Cover&Flood”. Also available is “The Feast”, a collection of ten previously unreleased remixes of songs from “Cover&Flood” while the “VALUTS” series compiles various unreleased songs. Katie Kim has supported the likes of Low and Slint to date and her influences stem from the realms of experimental, folk, post-rock, shoegaze, ambient and outsider folk. Kim’s distinctive sound is characterized by her fragile vocals, breathtaking lyricism and a constant striving for both purity and simplicity in her truly unique and utterly beguiling recorded output (akin to Grouper’s Liz Harris or early period Cat Power) casting a deeply profound spell on the listener in turn.

katiekim_mix

Fractured Air 36: Place Of You (A Mixtape by Katie Kim)

To listen on Mixcloud:
https://www.mixcloud.com/Fractured_Air/fractured-air-36-place-of-you-a-mixtape-by-katie-kim/

 

Tracklisting:

01. Slint ‘Washer’ [Touch And Go] / Werner Herzog [Excerpt from ‘Burden Of Dreams’]
02. Low ‘Words’ [Vernon Yard Recordings]
03. The Singing Nun ‘Dominique’ [Philips]
04. Wreckless Eric ‘I’d Go The Whole Wide World’ [Stiff]
05. Beck ‘Cyanide Breath Mint’ [K, XL]
06. Daniel Johnston ‘Dead Lovers Twisted Heart’ [Eternal Yip Eye Music]
07. The Beatles ‘Across The Universe’ [Apple]
08. Werner Herzog [Interview Excerpt]
09. William Basinski ‘d|p 1.1’ [2062]
10. Rose McGowan ‘Doom Generation’ (Excerpt) [American Recordings]
11. Howard Skempton ‘Lento’ [NMC]
12. Chirps ‘The Static Spectacle’ [Bandcamp]
13. Dean Blunt ‘I Run New York’ [Hippos In Tanks, World Music]
14. Julian Lynch ‘Garden 2’ [Underwater Peoples]
15. Vincent Gallo ‘I Wrote This Song For The Girl Paris Hilton’ [Warp]
16. John Jacob Niles ‘Go ‘way From My Window’ [LM Dupli-Cation]
17. Sister Irene O’Connor ‘Fire’ [Philips]
18. Kría Brekkan ‘Place Of You’ [Paw Tracks]
19. My Bloody Valentine ‘I Need No Trust’ [Creation]

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

https://katiekim.bandcamp.com
https://www.facebook.com/DANCEKATIEKIMDANCE

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Written by admin

May 14, 2015 at 10:47 am

Posted in MIXTAPE

Tagged with , , , ,

Mixtape: So Etched In Memory

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soetchedinmemory_sleeve

So Etched In Memory [A Fractured Air Mix]

To listen on Mixcloud:

https://www.mixcloud.com/Fractured_Air/so-etched-in-memory-a-fractured-air-mix/

 

Tracklisting:

01. Adrian Crowley ‘The Wild Boar’ (excerpt) [Chemikal Underground]
02. Benoît Pioulard ‘So Etched In Memory’ [Kranky]
03. Sam Prekop ‘Invisible’ [Thrill Jockey]
04. The Declining Winter ‘The Declining Winter and the Narrow World’ [Monopsone]
05. Katie Kim ‘Wicked Game’ [Bandcamp]
06. Low ‘Last Night I Dreamt That Somebody Loved Me’ [Chairkickers’ Music, Rough Trade]
07. Julianna Barwick ‘The Harbinger’ [Dead Oceans]
08. Bing & Ruth ‘TWTGA’ [RVNG Intl]
09. The White Stripes ‘This Protector’ [Sympathy For The Record Industry]
10. Unknown Mortal Orchestra ‘Multi-Love’ [Jagjaguwar]
11. Jib Kidder ‘World of Machines’ [Domino]
12. Panda Bear ‘Boys Latin’ [Domino]
13. Little Sister ‘Somebody’s Watching You’ [Light In The Attic]
14. The Band ‘Up On Cripple Creek’ [Capitol]
15. Bixy Guidry & Percy Babineaux ‘The Waltz Of The Long Wood’ [Tompkins Square]
16. Kenny Knight ‘All My Memories’ [Paradise Of Bachelors]

The copyright in these recordings is the property of the individual artists and/or their respective record labels. If you like the music, please support the artist by buying their records.

To follow Fractured Air you can do so on Facebook HERE, or Twitter HERE.
http://fracturedair.com

 

Central And Remote: Adrian Crowley

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Interview with Adrian Crowley.

“There are always words to be written.”

—Adrian Crowley

Words: Mark Carry, Photographs: Steve Gullick

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Some blue morning soon,
We will rise and step into the glowing.
Where once were tears there shall be gladness,
Where once were splinters hope shall rise.”

‘Some Blue Morning’

Some Blue Morning’ is the highly anticipated seventh studio album from Irish singer-songwriter, Adrian Crowley, which reveals (yet again) a song-writing master-class whose poetic prose and interwoven rich sonic canvas captivates the heart. Recorded in Dublin with long-term collaborator Steve Shannon, ‘Some Blue Morning’ features members of the London string ensemble Geese, Ireland’s Seti The First and Waterford singer-songwriter Katie Kim duets on several songs.

The album’s glorious title-track –and sublime opener – unfolds a blissful sense of euphoria as the guiding light of Crowley’s achingly beautiful vocal casts a glowing light over the horizon. ‘Some Blue Morning’ is a song of hope: where rapture replaces tears. The immaculate instrumentation of drums and strings awakens the timeless sound of Jean-Claude Vannier and Serge Gainsbourg as fleeting moments of rare beauty flickers like the embers of a glowing summer sun.

Hungry Grass’ follows next; its warmth, immediacy and delicacy astounds each and every heart pore. The transformative work contains soaring strings that shares the illuminating spark of U.S. group Rachel’s such is its mesmerizing brilliance. A skyline at dusk. The impending arrival of darkness. The comfort in solace. Dancing flames of “cyan, silver, crimson and gold”. ‘Hungry Grass’ is a distillation of a seamless array of transient moments; snapshots or artefacts of life. As Crowley sings “the embers wink before they die”, I feel the hurt of loss but also, the treasure trove of entrusted memories we share and hold onto.

Lay me down on the hungry grass
Among the seedlings and the winter bark.”

‘Hungry Grass’

Some weeks before the eagerly awaited arrival of ‘Some Blue Morning’, I was fortunate to witness Adrian’s enthralling live performance. The special setting was Cork’s L’Attitude 51 wine-bar/sometime-live venue – formerly the near-mythical Lobby bar, a venue the Irish troubadour visited many times in the past. A small space, steeped in history, and so fitting that the prized songwriter would return last October. As part of the East Cork Early Music festival, Crowley was joined by the gifted talents of cellist Ilse DeZiah and violinist Justin Grounds. As the trio weaved their spell-binding magic, the audience was invited to soak in the splendour of the artist’s world of song. The power of words: its alluring charm, infinite radiance and raw emotional depth. The night offered a vivid snapshot into the intricate arrangements of Crowley’s sonic creations; from ‘The Beekeeper’s Wife’ to ‘Juliet I’m In Flames’ (the latter which featured the sole use of the Irish singer’s guitar – the reverb hanging beautifully in the air) and all points in between (not least the majority of ‘Some Blue Morning’s illuminating batch of songs).

One song that immediately comes to mind is the hypnotic ‘The Angel’ with its cinematic, eerie strings and Crowley’s lingering baritone floating beneath. The utterly transcendent tour-de-force contains such shape-shifting sounds, mood and rhythm that (larger) groups such as Balanescu Quartet or Kronos Quartet could only summon to create. Elsewhere, the achingly beautiful ‘Trouble’ – one of the many gorgeous duets with divine Irish songstress Katie Kim – centres on starting anew with the dream of a quieter life.

The Hatchet Song’ comprises ethereal strings and the similarly dream-like baritone voice that melts effortlessly into the sonic palette like pockets of ice on a woodland path. The deeply affecting ballad is reminiscent of Robert Wyatt and Lambchop whose poetic prose details an engraver with “a blade so eager”. The folk opus ‘Magpie Song’ flickers between the surreal and the visceral, where Crowley sings of “the ways of chance” that results in the magpie taking flight (after several encounters with the revered bird).

The Leonard Cohen-esque ballad ‘Follow If You Must’ is yet another remarkable achievement. The stunningly beautiful ballad (again featuring Katie Kim’s awakening voice) feels as though it’s forged from a “forgotten dream”: the melded voices of Adrian and Katie gracefully rises like the “morning dew”. The sheer beauty and utter transcendence unleashed by their momentous duets is nothing short of staggering. In fact, I’d like to think of this rare thing of beauty being kindred to the fireflies that light up the dark (sung by the pair on a later verse).

The cinematic spoken-word opus, ‘The Wild Boar’ – conjuring up the sound of a Cormac McCarthy travelogue – serves one of the album’s defining moments as “miles of pines” become entrenched in your memory. The striking narrative centres on a driver’s encounter with a mystical creature amidst a drive through a forest at dusk. A meditative and deeply contemplative experience is masterfully created in the opening verse: “He thought about his life and as his mind drifted/He was almost finding some kind of peace/All his frustrations of his troubled days seemed to fall away”. Crowley’s baritone evokes the richest of colours and detail, from the “distant hum of an engine”, the “clicking of a blinking indicator” along with the “scent of pine” and the “recent rain that infused the air.” The enraptured listener becomes hypnotized by the rhythm of Crowley’s poetic prose wherein a spellbinding magic takes hold of the mind’s imagination. Similarly, a sprawling canvas of mesmerizing sounds – beguiling soundscapes of meandering guitar tones, warm percussion and gentle ripples of acoustic guitar notes – floats majestically beneath Crowley’s soothing baritone. The words and music somehow evokes the vast expanses of the forest of trees; the sheer beauty of the wilderness and the further reaches of one’s mind where what once was unreachable has become attainable.

Some Blue Morning’ sees Adrian Crowley’s cherished songbook continuing to push the sonic envelope with enlightening tower of songs. I feel the opening verse of ‘Follow If You Must’ serves the perfect embodiment of Crowley’s superlative, sprawling canvas: “And the bonfire’s still burning bright/Throwing sparks up into the night/To linger there with the stars.”

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‘Some Blue Morning’ is available now on Chemikal Underground.

https://www.facebook.com/pages/Adrian-Crowley/
http://www.chemikal.co.uk/

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Interview with Adrian Crowley.

Congratulations Adrian on the incredible new album, ‘Some Blue Morning’. It’s a real pleasure to ask you some questions about this truly beautiful work. Firstly, I’d love to gain an insight into the world that surrounds ‘Some Blue Morning’ and in what way you approached this record differently to its predecessor, ‘I See Three Birds Flying’.

Adrian Crowley: The pleasure is mine. Thank you, you are very kind! I will try to offer an answer! Well, I wrote the songs for ‘I See Three Birds Flying’ all in the same room and I wrote the songs for ‘Some Blue Morning’ in a different room… but both rooms are in the same house. I think that is an accurate description of my approach in more ways than one.

I also love the ode to Lee Hazelwood in the album-title. Furthermore, I feel the gorgeous duets between you and Katie Kim share that similarly magical spell cast by the timeless recordings of Nancy & Lee. Can you talk me through these particular duets, Adrian. Did you envision Katie would be part of these songs during the time of writing them? 

AC: The similarity in the title isn’t necessarily a coincidence but neither is it an ode in that way at all. The title, the phrases, the words I use resonate and have purpose in the songs I write, so I don’t try to mirror a song by someone else. But I often say, subconscious plays a part in how I work and I am always surprised when I wake up and see what I’ve written.

Gosh, I adore the duets of Nancy & Lee. They are gold to me. One of the decisions I’m proudest of in the making of this record was asking Katie to be involved. When I wrote the songs that she ended up singing on, I wasn’t necessarily thinking of duets. At first I heard wordless distant notes sung by a woman. It was very clear to me. For instance in the ‘The Magpie Song’ I heard a kind of haunting and dispossessed voice in the wilderness. And in ‘Follow If You Must’, I had already started recording the song and soon I imagined another voice there as part of the narrative and in a way to bring a different meaning to some of the passages.

It was uncharted territory for me, though, to invite someone in and give them my songs to sing. Sometimes the answer is with us all the time. I had spoken to Katie about the idea of making a record together. But it was a case of “when my record is done and when your record is done…and when we’re finished all the things that go with making a record…” Then I thought, that could take years… So I thought, why not get cracking now? And we can always do more later.

So I gave Katie a couple of songs and she came back with magnificent parts. So I gave her a couple of more songs and then I said, “here have more songs”. And then I said, “stop me if it’s all too much”. And she said, “keep them coming, Adrian, sure it’s grand”. And that was that. It was clear it had been a good idea.

In terms of contributions, the wonderful London-based string ensemble of Geese and Seti The First’s Kevin Murphy further heighten the rich sonic canvas of immense beauty. I would love to gain an insight into the arrangements of these new songs and the collaborative process that exists between you and these cast of musicians. 

AC: Well it’s more the case that Emma from Geese played on two songs: ‘The Magpie Song’ and ‘The Hatchet Song’ . Vince from Geese played viola on the latter. Emma, Vince and I had played ‘The Hatchet Song’ live before a few times, like in St Pancras Old Church in London and on a short tour in The Netherlands. We had developed that cascading, overlapping motif that grew and grew. Then in a bar in London I told Emma about a song I’d written about being incessantly assailed by a bird. I told her it had loads of verses and that I imagined her helping the narrative with her violin. She seemed intrigued. Then she played like a woman possessed.

Yes, Kevin Murphy plays cello on several of the songs. We have been working on live shows together too for quite a few years now and I like to think we have a special rapport. Mary Barnecutt who is also a member of Seti The First plays some cello on the record too. Both Kevin and Mary are part of my live show now. We just work intensely and quickly and then we arrive at the treatment that feels right. Many of the parts we developed further with Steve (Shannon) in the studio. Steve is very gifted, I’ve said that before and I’ll say it again. It really is an exciting thing to have the string parts grow and grow. The song kind of tells you what it wants sometimes. It could be either sparse and skeletal or lush and resplendent.

There are an infinite array of moments distilled in each and every song on ‘Some Blue Morning’, like movements contained in a concerto. I wonder were there any happy accidents, so to speak that happened by chance during the making of the record? I can only imagine there must be quite a few stories behind each of these special songs.

AC: One thing I must say is that the vocal takes were far from laboured. I would say 80 or 90% of the vocals on the record are the first take. I am always aware that even if you are planning to put a vocal down as just a guide, it’s worth keeping in mind that it may be a keeper. I remember on one of the first days of the recording sessions Steve asked me to sit down in the live room and run through some  guide vocals to just get a handle on how it all wad sounding . Then a short few moments later we had what turned out to be the final vocal takes of about seven songs of the album. I think there is probably some kind of character in each song and what Steve calls artefacts in each song that have their own idiosyncrasies that probably would be impossible to replicate or repeat.

And speaking of happy accidents…I accidentally discovered I could play clarinet during the making of the album. I’m happy about that! I was browsing in my local charity shop one day and saw a black box on a glass shelf. I looked inside and there was a clarinet. I got the feeling that it should be mine. I bought it there and then and later that afternoon I started getting a sound out if it. Then I showed up in Steve’s studio with the black box tucked under my arm. Steve said “what have you got there?” Then we set about laying down clarinet parts. All as a result of walking into that charity shop by chance that day.

One of the album’s (many) defining moments arrives in part B with the cinematic spoken-word opus, ‘The Wild Boar’, conjuring up the sound of a Cormac McCarthy travelogue and the likes of ‘My Sister’ or ‘Chocolate’ by Tindersticks. I particularly love the lyric “He felt like a hunter for the first time in his life”. I would love to gain an insight into the narrative of ‘The Wild Boar’ and your memories of writing this poetic work? In some ways (in reference to the “miles of pines”), the song feels a distant companion to ‘Alice Among The Pines’. 

AC: It was exciting and revealing to me how ‘The Wild Boar’ came about. (And I love those two pieces by Tindersticks, especially ‘My Sister’). I spend a bit if time in France and once I had heard about something happening to a guy driving down a lonely road along the pine forests. The story became embellished in my mind and I told it a few times to different people. Then on tour I was telling a friend of a friend this story… we were in a venue in Berlin just sitting at a table before the show started. Then during my set the same person shouted out to me to tell the story about The Wild Boar. So I did and it went on and on.

Then a couple of weeks later I told it again during a show in Brighton. Eventually I wrote it all down in the form of a short story. It just seemed right to me to record it and in some strange way it fits on the album, I think. It’s interesting what you say about ‘Alice Among The Pines’. I like the idea of some things coming from the same landscape… a bit like aspects of a story that is told over time.

I fondly recall the central lyric to ‘Trouble’ originated from your European travels in which a local told you, “the only trouble you get around here is when the leaves stick to the rail-road tracks.” Please recount for me your memories of this particular song and indeed, the influence the act of travelling must have on your song-writing?

AC: Yes, I fondly recall the event that sparked off this song. I was on tour in Europe and this particular day I was playing in a small town in The Netherlands. When I arrived in town for the show, I looked at my map and saw the venue was in walking distance from the station, so I set off on foot carrying my two guitars and dragging along this big suitcase. I crossed the road and there was a guy on a bike facing me, waiting at the traffic lights. He was watching me as I trudged and shuffled along. Then he smiled and nodded to me, and said something in Dutch. I said “Pardon?” and this time he spoke in English… “Are you okay?” He was looking at all these things I was carrying. “Yes, I’m fine, thanks”. I answered. The lights turned green and he cycled off.

Then I continued down the road and a woman with a child and a dog were coming towards me. They were all looking at me curiously. Then as I approached them, the woman asked me something. “Are you okay?” I nodded and continued along my way. Then a couple of minutes later, I heard a car slowing down behind me. I looked over my shoulder and there was a police car. I stopped and the window rolled down. Two cops were looking at me. One cop leaned out the window and nodded at me. He said something in a low voice. I looked quizzical. He repeated “Are you okay?” I said “Yes, I’m just on my way to play a show”. And I pointed at the venue at the end of the street. The cop nodded and looked a bit disappointed, then rolled the window up again and they drove off.

Then after the show, I told the story to three chaps who had come over to talk to me. They nodded knowingly as I was telling the story. When I finished, one of them said… “Yeah, we don’t get much trouble around here”. Then he said, “The only trouble you get around here is when wet leaves stick to the railway tracks”. I thought it was sweet and funny and sadly beautiful. A song emerged over the next few weeks about someone moving to another town, a small town to lead a simple life and not get into any more trouble.

In terms of writing, would you find yourself writing words on a page before the music is ever thought of or considered? The lyrics to your songs are sheer poetry and the poetic prose contained on ‘Some Blue Morning’ offers everlasting inspiration. Are there certain writers/literature/song-writers that hold a particular resonance for you, Adrian?

AC: Thank you, that’s a very nice thing to say. I don’t know if I really settle on any one songwriter. I just love words. I love it when you hear a song somewhere for the first time and it has a kind of spark that gives it a kind of transcendence. In terms of literature, I love the writing of Richard Brautigan, Raymond Carver, John Mc Gahern… There are others of course but I find these deeply inspiring. Charles Bukowski and Henry Miller were/are longtime favourites of mine too. In terms of contemporary Irish writers. Kevin Barry, I think is brilliant. Songwriters…there are so many great ones.

I was really interested to hear how you spent time over the past year devoted entirely to writing. How has this technique of yours developed or changed during the course of this time period? Can you discuss the mind-set and transformative process that must occur during writing? How has this affected the song-writing process of yours, Adrian?

AC: I did decide at one point, when I could see that I had no trips planned for a while, that I was going to set a few hours a day writing words and stories. I had finished recording the new album and I felt I needed to get something more out. It’s still coming out. I am very happy with the discovery. It’s funny, sometimes I touch on something that clearly needs my further attention, then I think… “okay, I’ve just set myself a goal, I better do justice to the idea and see it through”. So in that way I’ve been building something just on paper…words on paper. I see sometimes songs growing out of those pieces, sort of like a parallel counterpart. And that has influenced how I write songs, I think. Almost approaching from a new direction. There are always words to be written.

 


 

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‘Some Blue Morning’ is available now on Chemikal Underground.

https://www.facebook.com/pages/Adrian-Crowley/
http://www.chemikal.co.uk/

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