Black Shuck
On their return to Slip, the creaky shudders of Black Shuck finds Tom Challenger and Kit Downes expanding upon the dusty, spectral structures of their Vyamanikal session - a haunting session of organ and saxophone improvisations recorded at a ranges of churches in Snape Maltings, Suffolk - in two broadly spacious, keening ten minute tracts.
On the A-side a septet revolving Tom Challenger (saxophone), Kit Downes (piano), Alex Bonney (electronics), Lucy Railton (cello), Liam Byrne (viol), Emma Smith (violin), Daniel Bradley (percussion) expand and tangle the original recordings with transfixing attention to atmospheric nuance and detail - we’re on the edge of our seats, waiting for some daemon to pop out under the pew - whilst the B-side is a duo piece, far quieter and almost static, imprinted with wistful, almost jazz-like phrases that recall the minutes after Bohren Und Der Club of Gore’s Sunset Mission has ended, or like hearing a heartbroken, lonely busker who can hardly muster a parp to a crowd of no-one.
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On their return to Slip, the creaky shudders of Black Shuck finds Tom Challenger and Kit Downes expanding upon the dusty, spectral structures of their Vyamanikal session - a haunting session of organ and saxophone improvisations recorded at a ranges of churches in Snape Maltings, Suffolk - in two broadly spacious, keening ten minute tracts.
On the A-side a septet revolving Tom Challenger (saxophone), Kit Downes (piano), Alex Bonney (electronics), Lucy Railton (cello), Liam Byrne (viol), Emma Smith (violin), Daniel Bradley (percussion) expand and tangle the original recordings with transfixing attention to atmospheric nuance and detail - we’re on the edge of our seats, waiting for some daemon to pop out under the pew - whilst the B-side is a duo piece, far quieter and almost static, imprinted with wistful, almost jazz-like phrases that recall the minutes after Bohren Und Der Club of Gore’s Sunset Mission has ended, or like hearing a heartbroken, lonely busker who can hardly muster a parp to a crowd of no-one.
On their return to Slip, the creaky shudders of Black Shuck finds Tom Challenger and Kit Downes expanding upon the dusty, spectral structures of their Vyamanikal session - a haunting session of organ and saxophone improvisations recorded at a ranges of churches in Snape Maltings, Suffolk - in two broadly spacious, keening ten minute tracts.
On the A-side a septet revolving Tom Challenger (saxophone), Kit Downes (piano), Alex Bonney (electronics), Lucy Railton (cello), Liam Byrne (viol), Emma Smith (violin), Daniel Bradley (percussion) expand and tangle the original recordings with transfixing attention to atmospheric nuance and detail - we’re on the edge of our seats, waiting for some daemon to pop out under the pew - whilst the B-side is a duo piece, far quieter and almost static, imprinted with wistful, almost jazz-like phrases that recall the minutes after Bohren Und Der Club of Gore’s Sunset Mission has ended, or like hearing a heartbroken, lonely busker who can hardly muster a parp to a crowd of no-one.
On their return to Slip, the creaky shudders of Black Shuck finds Tom Challenger and Kit Downes expanding upon the dusty, spectral structures of their Vyamanikal session - a haunting session of organ and saxophone improvisations recorded at a ranges of churches in Snape Maltings, Suffolk - in two broadly spacious, keening ten minute tracts.
On the A-side a septet revolving Tom Challenger (saxophone), Kit Downes (piano), Alex Bonney (electronics), Lucy Railton (cello), Liam Byrne (viol), Emma Smith (violin), Daniel Bradley (percussion) expand and tangle the original recordings with transfixing attention to atmospheric nuance and detail - we’re on the edge of our seats, waiting for some daemon to pop out under the pew - whilst the B-side is a duo piece, far quieter and almost static, imprinted with wistful, almost jazz-like phrases that recall the minutes after Bohren Und Der Club of Gore’s Sunset Mission has ended, or like hearing a heartbroken, lonely busker who can hardly muster a parp to a crowd of no-one.
C25 tape with a fold-out, double-sided A3 poster with artwork by Alex Bonney. Includes download code. Limited edition
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On their return to Slip, the creaky shudders of Black Shuck finds Tom Challenger and Kit Downes expanding upon the dusty, spectral structures of their Vyamanikal session - a haunting session of organ and saxophone improvisations recorded at a ranges of churches in Snape Maltings, Suffolk - in two broadly spacious, keening ten minute tracts.
On the A-side a septet revolving Tom Challenger (saxophone), Kit Downes (piano), Alex Bonney (electronics), Lucy Railton (cello), Liam Byrne (viol), Emma Smith (violin), Daniel Bradley (percussion) expand and tangle the original recordings with transfixing attention to atmospheric nuance and detail - we’re on the edge of our seats, waiting for some daemon to pop out under the pew - whilst the B-side is a duo piece, far quieter and almost static, imprinted with wistful, almost jazz-like phrases that recall the minutes after Bohren Und Der Club of Gore’s Sunset Mission has ended, or like hearing a heartbroken, lonely busker who can hardly muster a parp to a crowd of no-one.