All This I Do For Glory
Colin Stetson
All This I Do For Glory
Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
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Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
Transparent petrol coloured vinyl.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
Available To Order (Estimated Shipping between 3-7 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Colin Stetson continues to redefine the saxophone in contemporary music with an innovatively percussive and soaring follow-up to the trio of New History Warfare volumes released by his neighbours at Montréal’s Constellation. This time Stetson takes charge of everything - from engineering to mixing, production and release - to present a gripping document of timeless instrumental virtuosity and visionary solo persistence that somehow sounds like Autechre whipping up an ancient Sufi dervish.
Making pointed use of his instrument’s myriad percussive possibilities, All This I Do For Glory was recorded without overdubs of loops to effectively bring the listener unflinchingly close to Stetson’s practice. Shut your eyes, and Stetson appears to diffract and multiply into a trio or quartet; somehow blowing, singing and knuckling out loping, irregular rhythms thru his instrument all at the same time. To break it down as simply a result of circular breathing, microphone placement and extended technique would be doing the results an immense disservice, though, Stetson transcends method and style to achieve something far more ambitious in each of the record’s six parts.
Like some archaeoacoustic rendering of Autechre playing unplugged in a Cave, the results play with perceptions of electronic and acoustic music: firstly like a cranky blues geist divined by Áine O’Dwyer in the loping, stomping chamber blues-folk of All This I Do For Glory; and then with supernal, lupine elegance described in the wordless vocals and furtive, zigzagging search-and-destroy tactics of Like Wolves On The Fold; or with a perception-baiting buzz and syncopated convulsion that runs ragged along the line between programmed electronic music, improvisation and modern classical in the supernatural, paraphysical emulation of Between Water and Wind and the naturalistic techno-vortices of Spindrift and In The Clinches; before scrambling previously unscaled heights of polyrhythmic scree and windswept harmonic updrafts with agility comparable to a flock of mountain goats traversing an escarpment in the complexity and fixated, hunched intensity The Lure Of The Mine. It’s rare that we hear artists blur the line between perceptions of acoustic reality and the modelled projections of electronic music with such delirious results.
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