A Colour For Autumn (15th Anniversary Edition)
Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.
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Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.
Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.
Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.
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Black Vinyl Edition, remastered by Stephan Mathieu, including a download of the album dropped in your account.
Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.
In Stock (Ready To Ship)
Limited transparent orange vinyl, remastered by Stephan Mathieu, including a download of the album dropped in your account.
Recorded in Brazil, Marseilles, Tasmania, Japan and Brisbane between 2007 and 2009, ‘A Colour For Autumn' features contributions from Christian Fennesz and much missed New Zealand lynchpin / Kranky affiliate Dean Roberts, slowly disintegrating field recordings and voice into shifting synths and muted instrumentation. It’s one of English's most open and beautiful albums, newly remastered by Stephan Mathieu for this 15th anniversary edition.
One of English's early catalog highlights, 'A Colour For Autumn' is a deeply peaceful record that just hints at the more darkened bluster of his later material. On opening track 'Droplet', he records cool winds in Marseille, letting them inform the direction and density of his synths, accompanied by Dean Roberts’ memorably ethereal harmonies. It’s a track that stands out in English’s catalogue for it’s vocal presence, and the timing is poignant - prompting us to revisit Roberts’ under-appreciated Thela trio alongside Rosy Parlane and Dion Workman - we highly recommend you do the same.
On ‘Watching it Unfold' English records his local landscape, capturing Brisbane's gentle shifts with glassy drones and spacious guitar notes, while 'The Surface Of Everything’ finds Fennesz feeding Tremelo-ed guitar shimmers into his electronic vortex for a 5 minute interval that keeps his usual glitch at bay in favour of pure textural reverie. English intended the album as a series of "small auditory portraits" designed to document the bleeding of the seasons into one with the increasing effects of climate change, with all the profound existential dread that came with it. Fifteen years later, with its concerns ever more poignant and acute, it perhaps rather perversely sounds more calming and captivating than ever, offering a moment of stillness inside its serene tapestries.