Strangely Isolated Place Review

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Strangely Isolated Place ReviewIn the past (before I listened to this record) whenever I heard someone describe an album or artist as "lush" (see M83) or "noise driven" (see My Bloody Valentine) or "ethereal" (see Boards of Canada), I usually just hummed and nodded in half-acknowledged understanding. Those are pretty ambiguous adjectives, I used to think.
Now I get it.
In this album, Ulrich Schnause uses broad, rushing sweeps of sound (think static, think airplanes taking off, think blood pumping in your ears) to make some of the most evocative music I have heard in a long time. If not ever.
This is an album that is supremely bittersweet, sandwiching layer upon layer of honest emotion between rich, achingly beautiful chords. Driven by a pulse that is strong but never insistent and colored by a hue that is subtle but impossible to ignore, this album exemplifies everything that the words "lush," "noise driven," and "ethereal" could ever possibly mean. If I didn't think it would devalue (and ultimately demean) the record, I would try to explain the heart-breaking beauty of each and every song on this CD. As it is, I'll just say that every song is just as gorgeous as the next, and the sum total is something that is quite seriously a work of art and a treasure to own.Strangely Isolated Place OverviewThe domestic version of Schnauss' second album, originally released by Berlin/Manchester's City Centre Offices in May'03. Fuses the ambient electronics of Eno & Boards of Canada with Slowdive & My Bloody Valentine, with an emphasis on melody.

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The Letting Go Review

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The Letting Go ReviewThis might be the best CD that has come out this year. It may be Will Oldham's best CD since "Viva Last Blues." It may be better than "Viva Last Blues" although these are two different styled CDs. "The letting go" has a mostly very mellow sound. Almost every song is beautiful. The string and guitar melodies are uplifting. Will Oldham's voice is grounding, it is the familiar voice you have heard for the past decade or so. Dawn McCarthy's voice will then again lift you up. McCarthy's voice is a fantastic companion to Oldham's. Other singers/bands have tried to use a female voice to echo or accompany the lead vocal and it has often become irritating. This is not the case with "the letting go," McCarthy's accompaniment adds so much to the album but without taking away from Oldham. I haven't listened to a Will Oldham album since "Ease down the Road." This makes me want to go back and listen to those albums I have missed. One song in particular, "The Seedling" (I believe) has a different sound than the rest of the album. It has a harsher sound, but is still a good song.
This is a great introduction if you are new to Oldham or if you are returning listener.The Letting Go OverviewThe Letting Go is an overwhelming undertaking. As mentioned, there are stringslovely charts that do so much more than just trace chord changes up and down the neck. Arrangements by Ryder McNair and Nico Muhly are threaded throughout the record, augmenting a simple quintet players to provide a sixth sense. The deceptive nature of his band is on display from the top. FilthyJim White is known far and wide for his resource behind the drum kit and he proves it song after song, with sensitivity that provokes dynamic variety from skins, an acoustic depth to the room. Paul Oldham's bass is a feeling accompaniment to Bonny's guitar, played with brotherly clairvoyance and constancy. Young Emmett Kelly's clean electric guitar lines roam within the web and suddenly shine, are blues and folk and r'n'b in shifting turn, guilelessly tactic and soulfully expressive. And up front with Bonny is the bewitching Dawn McCarthy of Faun Fables. Her vocal flights on those records can hardly prepare one for the intimacy and empathy of her harmonies and other voices on The Letting Go.

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