Annelies Monseré & Goldscammer
Annelies Monseré & Goldscammer
Somewhere between a best-of and a reboot, Annelies Monseré's latest is a re-invention of her back catalogue made alongside fellow Belgian underground veteran Goldscammer. Featuring all-new versions of tracks from her best-loved releases (for Stroom, Horn of Plenty and Morc), it's a treat for established fans and the ideal intro if yr a first-time listener. RIYL Broadcast, Richard Youngs, Nico or Delphine Dora.
If you've had your ear to the ground, you'll most likely have come across Monseré by now. The Ghent-based artist has been quietly releasing some of the most charming minimalist slowcore we've heard for a quarter-decade at this point, so she's long due her lap of honor. We're less familiar with Goldscammer - according the press release he's part of the same local scene - but he adds another layer of complexity to Monseré's famously spare compositions. Thankfully, they don't disrupt the unhurried mood of the originals one bit, adding additional instrumentation only when absolutely necessary, using Goldscammer's voice to accentuate the trace harmonies that were previously only hinted at.
'Happiness is Within Sight', snipped from Monseré's 2018 album of the same name, starts things off, and it's immediately obvious how much the material has evolved. On the initial version, Monseré's voice was suspended over an accordion drone and dusty, psych-folk percussion - now it's even slower, and more stripped to the bone. The percussion has been removed completely, leaving Monseré's gentle, lulling melodies to cycle solemnly as they pick up additional elements. When Goldscammer's voice makes its debut, lending a soft tonal foil to Monseré's own, it's easy to hear why the project came to be.
All the tracks here were previously released between 2009 and 2024, and the duo's approach on 'Happiness...' actually brings it closer to the hyper-minimal sound Monseré was developing in the earliest stages of her career. Sure, this set has been relatively cleanly recorded - it's not lo-fi, that's for sure - but that just seems like a way to ensure we can fully perceive the tiniest details, every breath, reverb trail and artfully sustained note. Without its signature doom-y organ drone propelling it, 'Simple Fractures' from last year's 'I sigh, I resign' is more open, allowing us to hear the duo's vocal parts interlock over sparse guitar and bass plucks. The similarly, anthemic 'Mares' standout 'My Finest Hour' shuffles coolly away from its folk roots, sounding as airy as Talk Talk's 'Spirit of Eden'. The folk backbone is still there, but there's something dreamier hanging in the wings.
View more
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
Somewhere between a best-of and a reboot, Annelies Monseré's latest is a re-invention of her back catalogue made alongside fellow Belgian underground veteran Goldscammer. Featuring all-new versions of tracks from her best-loved releases (for Stroom, Horn of Plenty and Morc), it's a treat for established fans and the ideal intro if yr a first-time listener. RIYL Broadcast, Richard Youngs, Nico or Delphine Dora.
If you've had your ear to the ground, you'll most likely have come across Monseré by now. The Ghent-based artist has been quietly releasing some of the most charming minimalist slowcore we've heard for a quarter-decade at this point, so she's long due her lap of honor. We're less familiar with Goldscammer - according the press release he's part of the same local scene - but he adds another layer of complexity to Monseré's famously spare compositions. Thankfully, they don't disrupt the unhurried mood of the originals one bit, adding additional instrumentation only when absolutely necessary, using Goldscammer's voice to accentuate the trace harmonies that were previously only hinted at.
'Happiness is Within Sight', snipped from Monseré's 2018 album of the same name, starts things off, and it's immediately obvious how much the material has evolved. On the initial version, Monseré's voice was suspended over an accordion drone and dusty, psych-folk percussion - now it's even slower, and more stripped to the bone. The percussion has been removed completely, leaving Monseré's gentle, lulling melodies to cycle solemnly as they pick up additional elements. When Goldscammer's voice makes its debut, lending a soft tonal foil to Monseré's own, it's easy to hear why the project came to be.
All the tracks here were previously released between 2009 and 2024, and the duo's approach on 'Happiness...' actually brings it closer to the hyper-minimal sound Monseré was developing in the earliest stages of her career. Sure, this set has been relatively cleanly recorded - it's not lo-fi, that's for sure - but that just seems like a way to ensure we can fully perceive the tiniest details, every breath, reverb trail and artfully sustained note. Without its signature doom-y organ drone propelling it, 'Simple Fractures' from last year's 'I sigh, I resign' is more open, allowing us to hear the duo's vocal parts interlock over sparse guitar and bass plucks. The similarly, anthemic 'Mares' standout 'My Finest Hour' shuffles coolly away from its folk roots, sounding as airy as Talk Talk's 'Spirit of Eden'. The folk backbone is still there, but there's something dreamier hanging in the wings.