Part Wild Horses Mane On Both Sides
Aulos' Second Reed
Part Wild Horses Mane On Both Sides
Aulos' Second Reed
Boomkat Product Review:
Currently featured in this month’s Wire primer on the Manchester improv underground, Tombed Visions give a 2nd lease of life to the quietly-involving, shakuhachi-like flute and courtly concrète rustles of Aulos’ Second Reel (2014) by Kelly Jayne Jones & Pascal Nichols’ highly esteemed Part Wild Horses Mane on Both Sides.
Tombed Visions say: “For me, Aulo’s Second Reed is an album that truly characterises the duo’s name, taken from an abstract Tai Chi manoeuvre. Like their name sake, this recording, originally issued by Bennifer Editions, is focused, fluid and graceful in its intent. Kelly and Pascal music is sometimes described as ritualistic, a statement I can agree because it ascribes a functionality. Aulo’s Second Reed is highly conducive to meditative states and internal examination. The core instrumentation of flute and percussion is purposely privileged on these two lengthy sound poems, fluttering between ancestral invocations and great yawns of drama riddled silence. The interplay between Nichols and Jones ebbs and flows like a mythic narrative, toms and gongs thundering amid soaring flute lines. The foundsounds that are strategically scattered across both sides of the tape are incredible detailed and only embellish the overall mystique of the record; cricket and birdsong, curdling river streams and the hum of forest colouring the atmosphere. Of course, parallels can be drawn between the duos music and that of the traditional Kabuki Theatre, it is certainly just as dramatic. But I’m specifically reminded of Toru Takemitsu score for Kwaidan (1964 dir. Masaki Kobayashi) with this album, charged by a similar some sort of supernatural beauty and disquiet, which is really driven home on the closing seconds of the recording as Kelly flutes spirals amongst ominous bell chimes like something risen from the grave. Their melding of traditional acoustic instrumentation and electro-acoustic sources births something wholly new, yet known. This is some seriously heavy Temple shit.” David McLean, January 2016.”
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Boomkat Product Review:
Currently featured in this month’s Wire primer on the Manchester improv underground, Tombed Visions give a 2nd lease of life to the quietly-involving, shakuhachi-like flute and courtly concrète rustles of Aulos’ Second Reel (2014) by Kelly Jayne Jones & Pascal Nichols’ highly esteemed Part Wild Horses Mane on Both Sides.
Tombed Visions say: “For me, Aulo’s Second Reed is an album that truly characterises the duo’s name, taken from an abstract Tai Chi manoeuvre. Like their name sake, this recording, originally issued by Bennifer Editions, is focused, fluid and graceful in its intent. Kelly and Pascal music is sometimes described as ritualistic, a statement I can agree because it ascribes a functionality. Aulo’s Second Reed is highly conducive to meditative states and internal examination. The core instrumentation of flute and percussion is purposely privileged on these two lengthy sound poems, fluttering between ancestral invocations and great yawns of drama riddled silence. The interplay between Nichols and Jones ebbs and flows like a mythic narrative, toms and gongs thundering amid soaring flute lines. The foundsounds that are strategically scattered across both sides of the tape are incredible detailed and only embellish the overall mystique of the record; cricket and birdsong, curdling river streams and the hum of forest colouring the atmosphere. Of course, parallels can be drawn between the duos music and that of the traditional Kabuki Theatre, it is certainly just as dramatic. But I’m specifically reminded of Toru Takemitsu score for Kwaidan (1964 dir. Masaki Kobayashi) with this album, charged by a similar some sort of supernatural beauty and disquiet, which is really driven home on the closing seconds of the recording as Kelly flutes spirals amongst ominous bell chimes like something risen from the grave. Their melding of traditional acoustic instrumentation and electro-acoustic sources births something wholly new, yet known. This is some seriously heavy Temple shit.” David McLean, January 2016.”
Boomkat Product Review:
Currently featured in this month’s Wire primer on the Manchester improv underground, Tombed Visions give a 2nd lease of life to the quietly-involving, shakuhachi-like flute and courtly concrète rustles of Aulos’ Second Reel (2014) by Kelly Jayne Jones & Pascal Nichols’ highly esteemed Part Wild Horses Mane on Both Sides.
Tombed Visions say: “For me, Aulo’s Second Reed is an album that truly characterises the duo’s name, taken from an abstract Tai Chi manoeuvre. Like their name sake, this recording, originally issued by Bennifer Editions, is focused, fluid and graceful in its intent. Kelly and Pascal music is sometimes described as ritualistic, a statement I can agree because it ascribes a functionality. Aulo’s Second Reed is highly conducive to meditative states and internal examination. The core instrumentation of flute and percussion is purposely privileged on these two lengthy sound poems, fluttering between ancestral invocations and great yawns of drama riddled silence. The interplay between Nichols and Jones ebbs and flows like a mythic narrative, toms and gongs thundering amid soaring flute lines. The foundsounds that are strategically scattered across both sides of the tape are incredible detailed and only embellish the overall mystique of the record; cricket and birdsong, curdling river streams and the hum of forest colouring the atmosphere. Of course, parallels can be drawn between the duos music and that of the traditional Kabuki Theatre, it is certainly just as dramatic. But I’m specifically reminded of Toru Takemitsu score for Kwaidan (1964 dir. Masaki Kobayashi) with this album, charged by a similar some sort of supernatural beauty and disquiet, which is really driven home on the closing seconds of the recording as Kelly flutes spirals amongst ominous bell chimes like something risen from the grave. Their melding of traditional acoustic instrumentation and electro-acoustic sources births something wholly new, yet known. This is some seriously heavy Temple shit.” David McLean, January 2016.”
Boomkat Product Review:
Currently featured in this month’s Wire primer on the Manchester improv underground, Tombed Visions give a 2nd lease of life to the quietly-involving, shakuhachi-like flute and courtly concrète rustles of Aulos’ Second Reel (2014) by Kelly Jayne Jones & Pascal Nichols’ highly esteemed Part Wild Horses Mane on Both Sides.
Tombed Visions say: “For me, Aulo’s Second Reed is an album that truly characterises the duo’s name, taken from an abstract Tai Chi manoeuvre. Like their name sake, this recording, originally issued by Bennifer Editions, is focused, fluid and graceful in its intent. Kelly and Pascal music is sometimes described as ritualistic, a statement I can agree because it ascribes a functionality. Aulo’s Second Reed is highly conducive to meditative states and internal examination. The core instrumentation of flute and percussion is purposely privileged on these two lengthy sound poems, fluttering between ancestral invocations and great yawns of drama riddled silence. The interplay between Nichols and Jones ebbs and flows like a mythic narrative, toms and gongs thundering amid soaring flute lines. The foundsounds that are strategically scattered across both sides of the tape are incredible detailed and only embellish the overall mystique of the record; cricket and birdsong, curdling river streams and the hum of forest colouring the atmosphere. Of course, parallels can be drawn between the duos music and that of the traditional Kabuki Theatre, it is certainly just as dramatic. But I’m specifically reminded of Toru Takemitsu score for Kwaidan (1964 dir. Masaki Kobayashi) with this album, charged by a similar some sort of supernatural beauty and disquiet, which is really driven home on the closing seconds of the recording as Kelly flutes spirals amongst ominous bell chimes like something risen from the grave. Their melding of traditional acoustic instrumentation and electro-acoustic sources births something wholly new, yet known. This is some seriously heavy Temple shit.” David McLean, January 2016.”
C43 cassette housed in oversized jewel case with heavyweight, printed J-card
Out of Stock
Boomkat Product Review:
Currently featured in this month’s Wire primer on the Manchester improv underground, Tombed Visions give a 2nd lease of life to the quietly-involving, shakuhachi-like flute and courtly concrète rustles of Aulos’ Second Reel (2014) by Kelly Jayne Jones & Pascal Nichols’ highly esteemed Part Wild Horses Mane on Both Sides.
Tombed Visions say: “For me, Aulo’s Second Reed is an album that truly characterises the duo’s name, taken from an abstract Tai Chi manoeuvre. Like their name sake, this recording, originally issued by Bennifer Editions, is focused, fluid and graceful in its intent. Kelly and Pascal music is sometimes described as ritualistic, a statement I can agree because it ascribes a functionality. Aulo’s Second Reed is highly conducive to meditative states and internal examination. The core instrumentation of flute and percussion is purposely privileged on these two lengthy sound poems, fluttering between ancestral invocations and great yawns of drama riddled silence. The interplay between Nichols and Jones ebbs and flows like a mythic narrative, toms and gongs thundering amid soaring flute lines. The foundsounds that are strategically scattered across both sides of the tape are incredible detailed and only embellish the overall mystique of the record; cricket and birdsong, curdling river streams and the hum of forest colouring the atmosphere. Of course, parallels can be drawn between the duos music and that of the traditional Kabuki Theatre, it is certainly just as dramatic. But I’m specifically reminded of Toru Takemitsu score for Kwaidan (1964 dir. Masaki Kobayashi) with this album, charged by a similar some sort of supernatural beauty and disquiet, which is really driven home on the closing seconds of the recording as Kelly flutes spirals amongst ominous bell chimes like something risen from the grave. Their melding of traditional acoustic instrumentation and electro-acoustic sources births something wholly new, yet known. This is some seriously heavy Temple shit.” David McLean, January 2016.”
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