Beautiful Dreamer
Loren Connors at his best; working for the first time with post-production techniques to goose-pimpling effect in an ethereal dedication to downtown NYC avant garde legend Steve Dalachinsky, all chorus-pedal shimmers and slow motion shoegazing bliss.
The two-part suite of ‘Beautiful Dreamer’ was initially recorded for guitar in 2019, shortly before the passing of Loren Connors’ close friend Steve Dalachinsky, remembered as an “indefatigable supporter of the avant garde” with a heavy thing for avant garde jazz. Dalachinsky’s passing has clearly prompted strong emotions from Connors, who returned to his then recently written works and went back over them in post-production, rendering haunting new layers to his already ghostly style in the most beautiful and heartfelt way.
There’s a solemn density to these pieces that feels less smoky and strung out than Connors' usual fare, capturing a funereal but totally beautiful tone thickened up to sound a little more like sighing, sepulchral synth pads (could actually be synths, we’re not sure) that remind us of Roy Montgomery’s guitar works or even Grouper's voice, but made instrumentally, eschewing vocals and leaving the sentiment deeply buried into each slow, purposeful, and layered stroke.
View more
Loren Connors at his best; working for the first time with post-production techniques to goose-pimpling effect in an ethereal dedication to downtown NYC avant garde legend Steve Dalachinsky, all chorus-pedal shimmers and slow motion shoegazing bliss.
The two-part suite of ‘Beautiful Dreamer’ was initially recorded for guitar in 2019, shortly before the passing of Loren Connors’ close friend Steve Dalachinsky, remembered as an “indefatigable supporter of the avant garde” with a heavy thing for avant garde jazz. Dalachinsky’s passing has clearly prompted strong emotions from Connors, who returned to his then recently written works and went back over them in post-production, rendering haunting new layers to his already ghostly style in the most beautiful and heartfelt way.
There’s a solemn density to these pieces that feels less smoky and strung out than Connors' usual fare, capturing a funereal but totally beautiful tone thickened up to sound a little more like sighing, sepulchral synth pads (could actually be synths, we’re not sure) that remind us of Roy Montgomery’s guitar works or even Grouper's voice, but made instrumentally, eschewing vocals and leaving the sentiment deeply buried into each slow, purposeful, and layered stroke.
Loren Connors at his best; working for the first time with post-production techniques to goose-pimpling effect in an ethereal dedication to downtown NYC avant garde legend Steve Dalachinsky, all chorus-pedal shimmers and slow motion shoegazing bliss.
The two-part suite of ‘Beautiful Dreamer’ was initially recorded for guitar in 2019, shortly before the passing of Loren Connors’ close friend Steve Dalachinsky, remembered as an “indefatigable supporter of the avant garde” with a heavy thing for avant garde jazz. Dalachinsky’s passing has clearly prompted strong emotions from Connors, who returned to his then recently written works and went back over them in post-production, rendering haunting new layers to his already ghostly style in the most beautiful and heartfelt way.
There’s a solemn density to these pieces that feels less smoky and strung out than Connors' usual fare, capturing a funereal but totally beautiful tone thickened up to sound a little more like sighing, sepulchral synth pads (could actually be synths, we’re not sure) that remind us of Roy Montgomery’s guitar works or even Grouper's voice, but made instrumentally, eschewing vocals and leaving the sentiment deeply buried into each slow, purposeful, and layered stroke.
Loren Connors at his best; working for the first time with post-production techniques to goose-pimpling effect in an ethereal dedication to downtown NYC avant garde legend Steve Dalachinsky, all chorus-pedal shimmers and slow motion shoegazing bliss.
The two-part suite of ‘Beautiful Dreamer’ was initially recorded for guitar in 2019, shortly before the passing of Loren Connors’ close friend Steve Dalachinsky, remembered as an “indefatigable supporter of the avant garde” with a heavy thing for avant garde jazz. Dalachinsky’s passing has clearly prompted strong emotions from Connors, who returned to his then recently written works and went back over them in post-production, rendering haunting new layers to his already ghostly style in the most beautiful and heartfelt way.
There’s a solemn density to these pieces that feels less smoky and strung out than Connors' usual fare, capturing a funereal but totally beautiful tone thickened up to sound a little more like sighing, sepulchral synth pads (could actually be synths, we’re not sure) that remind us of Roy Montgomery’s guitar works or even Grouper's voice, but made instrumentally, eschewing vocals and leaving the sentiment deeply buried into each slow, purposeful, and layered stroke.
Back in stock. Limited edition of 500 copies.
Out of Stock
Loren Connors at his best; working for the first time with post-production techniques to goose-pimpling effect in an ethereal dedication to downtown NYC avant garde legend Steve Dalachinsky, all chorus-pedal shimmers and slow motion shoegazing bliss.
The two-part suite of ‘Beautiful Dreamer’ was initially recorded for guitar in 2019, shortly before the passing of Loren Connors’ close friend Steve Dalachinsky, remembered as an “indefatigable supporter of the avant garde” with a heavy thing for avant garde jazz. Dalachinsky’s passing has clearly prompted strong emotions from Connors, who returned to his then recently written works and went back over them in post-production, rendering haunting new layers to his already ghostly style in the most beautiful and heartfelt way.
There’s a solemn density to these pieces that feels less smoky and strung out than Connors' usual fare, capturing a funereal but totally beautiful tone thickened up to sound a little more like sighing, sepulchral synth pads (could actually be synths, we’re not sure) that remind us of Roy Montgomery’s guitar works or even Grouper's voice, but made instrumentally, eschewing vocals and leaving the sentiment deeply buried into each slow, purposeful, and layered stroke.