Depths Of Disturbances
Annie Hogan
Depths Of Disturbances
Boomkat Product Review:
Key new wave and goth catalyst Annie Hogan marks 40 years of solo works with the spellbinding results of a residency at Bidston observatory in the Wirral, NW England. It’s a deep reading of the accreted history, topography and the nether-world vibe of the sandstone outcrop between Liverpool and The Irish Sea, a properly dank excursion tipped if yr into Wolf Eyes, Mark Jenkins, Ennio Morricone, When’s ‘Black Death’’.
Harbouring some of Hogan’s richest textural work within its silty swells and range-finding electro-acoustic processes, ‘Depths Of Disturbances’ is another progression for an artist whose work has really come into its own over the past five years via Regis’ Downwards label. She scrolls thru the mists of time to connect with her formative years growing up in the industrial and sleepy pastoral landscapes of The Wirral, joining dots with cinematic themes and scores such as the Bowie classic ‘The Man Who Fell to Earth’, or Michael Legrand’s ‘Ice Station Zebra’. She weaves a mesmerising, obliquely abstract narrative amid the domes and archaic measuring devices of Bidston Observatory, perched with direct lines of sight to Liverpool’s imposing Anglican cathedral and the wind turbines of the Irish Sea.
Hogan orients herself in the vaulted Victorian structure to realise some of her most elusive recordings; unravelling passages of densely layered drone like weathered reels of film left to marinade in memory. An uncanny stillness runs deep in murky 3D throughout the album’s two-part movement, using three judiciously-placed zoom recorders to capture herself in dialogue with numerous instruments including melodica, dulcimer, flute, clarinet, harmonica, bells and mandolin, weft with damp, elegiac echoes of sea shanties and the whispers of the dead.
Hogan pointedly undoes decades of work as melodic muse for pioneering popstars with a defocussed approach that implies the wanderlust of Martin Denny’s exotica marooned in Merseyside, while also evoking Morricone’s feel for atmosphere from behind sheets of Irish drizzle, and in the process finds kinship - whether intended or not - with Wolf Eyes’ trip metal scapes or Nate Young’s Regressions Sessions, as much as Mark Jenkins’ limning of Cornish ambience in his own films. Like all of them, Hogan’s music contains the power to seduce, transport, and colour the subconsciousness, short-circuiting synaesthetic and imagined sensations with a natural feel for metaphysical space.
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Boomkat Product Review:
Key new wave and goth catalyst Annie Hogan marks 40 years of solo works with the spellbinding results of a residency at Bidston observatory in the Wirral, NW England. It’s a deep reading of the accreted history, topography and the nether-world vibe of the sandstone outcrop between Liverpool and The Irish Sea, a properly dank excursion tipped if yr into Wolf Eyes, Mark Jenkins, Ennio Morricone, When’s ‘Black Death’’.
Harbouring some of Hogan’s richest textural work within its silty swells and range-finding electro-acoustic processes, ‘Depths Of Disturbances’ is another progression for an artist whose work has really come into its own over the past five years via Regis’ Downwards label. She scrolls thru the mists of time to connect with her formative years growing up in the industrial and sleepy pastoral landscapes of The Wirral, joining dots with cinematic themes and scores such as the Bowie classic ‘The Man Who Fell to Earth’, or Michael Legrand’s ‘Ice Station Zebra’. She weaves a mesmerising, obliquely abstract narrative amid the domes and archaic measuring devices of Bidston Observatory, perched with direct lines of sight to Liverpool’s imposing Anglican cathedral and the wind turbines of the Irish Sea.
Hogan orients herself in the vaulted Victorian structure to realise some of her most elusive recordings; unravelling passages of densely layered drone like weathered reels of film left to marinade in memory. An uncanny stillness runs deep in murky 3D throughout the album’s two-part movement, using three judiciously-placed zoom recorders to capture herself in dialogue with numerous instruments including melodica, dulcimer, flute, clarinet, harmonica, bells and mandolin, weft with damp, elegiac echoes of sea shanties and the whispers of the dead.
Hogan pointedly undoes decades of work as melodic muse for pioneering popstars with a defocussed approach that implies the wanderlust of Martin Denny’s exotica marooned in Merseyside, while also evoking Morricone’s feel for atmosphere from behind sheets of Irish drizzle, and in the process finds kinship - whether intended or not - with Wolf Eyes’ trip metal scapes or Nate Young’s Regressions Sessions, as much as Mark Jenkins’ limning of Cornish ambience in his own films. Like all of them, Hogan’s music contains the power to seduce, transport, and colour the subconsciousness, short-circuiting synaesthetic and imagined sensations with a natural feel for metaphysical space.
Boomkat Product Review:
Key new wave and goth catalyst Annie Hogan marks 40 years of solo works with the spellbinding results of a residency at Bidston observatory in the Wirral, NW England. It’s a deep reading of the accreted history, topography and the nether-world vibe of the sandstone outcrop between Liverpool and The Irish Sea, a properly dank excursion tipped if yr into Wolf Eyes, Mark Jenkins, Ennio Morricone, When’s ‘Black Death’’.
Harbouring some of Hogan’s richest textural work within its silty swells and range-finding electro-acoustic processes, ‘Depths Of Disturbances’ is another progression for an artist whose work has really come into its own over the past five years via Regis’ Downwards label. She scrolls thru the mists of time to connect with her formative years growing up in the industrial and sleepy pastoral landscapes of The Wirral, joining dots with cinematic themes and scores such as the Bowie classic ‘The Man Who Fell to Earth’, or Michael Legrand’s ‘Ice Station Zebra’. She weaves a mesmerising, obliquely abstract narrative amid the domes and archaic measuring devices of Bidston Observatory, perched with direct lines of sight to Liverpool’s imposing Anglican cathedral and the wind turbines of the Irish Sea.
Hogan orients herself in the vaulted Victorian structure to realise some of her most elusive recordings; unravelling passages of densely layered drone like weathered reels of film left to marinade in memory. An uncanny stillness runs deep in murky 3D throughout the album’s two-part movement, using three judiciously-placed zoom recorders to capture herself in dialogue with numerous instruments including melodica, dulcimer, flute, clarinet, harmonica, bells and mandolin, weft with damp, elegiac echoes of sea shanties and the whispers of the dead.
Hogan pointedly undoes decades of work as melodic muse for pioneering popstars with a defocussed approach that implies the wanderlust of Martin Denny’s exotica marooned in Merseyside, while also evoking Morricone’s feel for atmosphere from behind sheets of Irish drizzle, and in the process finds kinship - whether intended or not - with Wolf Eyes’ trip metal scapes or Nate Young’s Regressions Sessions, as much as Mark Jenkins’ limning of Cornish ambience in his own films. Like all of them, Hogan’s music contains the power to seduce, transport, and colour the subconsciousness, short-circuiting synaesthetic and imagined sensations with a natural feel for metaphysical space.
Boomkat Product Review:
Key new wave and goth catalyst Annie Hogan marks 40 years of solo works with the spellbinding results of a residency at Bidston observatory in the Wirral, NW England. It’s a deep reading of the accreted history, topography and the nether-world vibe of the sandstone outcrop between Liverpool and The Irish Sea, a properly dank excursion tipped if yr into Wolf Eyes, Mark Jenkins, Ennio Morricone, When’s ‘Black Death’’.
Harbouring some of Hogan’s richest textural work within its silty swells and range-finding electro-acoustic processes, ‘Depths Of Disturbances’ is another progression for an artist whose work has really come into its own over the past five years via Regis’ Downwards label. She scrolls thru the mists of time to connect with her formative years growing up in the industrial and sleepy pastoral landscapes of The Wirral, joining dots with cinematic themes and scores such as the Bowie classic ‘The Man Who Fell to Earth’, or Michael Legrand’s ‘Ice Station Zebra’. She weaves a mesmerising, obliquely abstract narrative amid the domes and archaic measuring devices of Bidston Observatory, perched with direct lines of sight to Liverpool’s imposing Anglican cathedral and the wind turbines of the Irish Sea.
Hogan orients herself in the vaulted Victorian structure to realise some of her most elusive recordings; unravelling passages of densely layered drone like weathered reels of film left to marinade in memory. An uncanny stillness runs deep in murky 3D throughout the album’s two-part movement, using three judiciously-placed zoom recorders to capture herself in dialogue with numerous instruments including melodica, dulcimer, flute, clarinet, harmonica, bells and mandolin, weft with damp, elegiac echoes of sea shanties and the whispers of the dead.
Hogan pointedly undoes decades of work as melodic muse for pioneering popstars with a defocussed approach that implies the wanderlust of Martin Denny’s exotica marooned in Merseyside, while also evoking Morricone’s feel for atmosphere from behind sheets of Irish drizzle, and in the process finds kinship - whether intended or not - with Wolf Eyes’ trip metal scapes or Nate Young’s Regressions Sessions, as much as Mark Jenkins’ limning of Cornish ambience in his own films. Like all of them, Hogan’s music contains the power to seduce, transport, and colour the subconsciousness, short-circuiting synaesthetic and imagined sensations with a natural feel for metaphysical space.
Edition of 99 copies, includes a download of the album dropped to your account. Cut by Rashad Becker.
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Boomkat Product Review:
Key new wave and goth catalyst Annie Hogan marks 40 years of solo works with the spellbinding results of a residency at Bidston observatory in the Wirral, NW England. It’s a deep reading of the accreted history, topography and the nether-world vibe of the sandstone outcrop between Liverpool and The Irish Sea, a properly dank excursion tipped if yr into Wolf Eyes, Mark Jenkins, Ennio Morricone, When’s ‘Black Death’’.
Harbouring some of Hogan’s richest textural work within its silty swells and range-finding electro-acoustic processes, ‘Depths Of Disturbances’ is another progression for an artist whose work has really come into its own over the past five years via Regis’ Downwards label. She scrolls thru the mists of time to connect with her formative years growing up in the industrial and sleepy pastoral landscapes of The Wirral, joining dots with cinematic themes and scores such as the Bowie classic ‘The Man Who Fell to Earth’, or Michael Legrand’s ‘Ice Station Zebra’. She weaves a mesmerising, obliquely abstract narrative amid the domes and archaic measuring devices of Bidston Observatory, perched with direct lines of sight to Liverpool’s imposing Anglican cathedral and the wind turbines of the Irish Sea.
Hogan orients herself in the vaulted Victorian structure to realise some of her most elusive recordings; unravelling passages of densely layered drone like weathered reels of film left to marinade in memory. An uncanny stillness runs deep in murky 3D throughout the album’s two-part movement, using three judiciously-placed zoom recorders to capture herself in dialogue with numerous instruments including melodica, dulcimer, flute, clarinet, harmonica, bells and mandolin, weft with damp, elegiac echoes of sea shanties and the whispers of the dead.
Hogan pointedly undoes decades of work as melodic muse for pioneering popstars with a defocussed approach that implies the wanderlust of Martin Denny’s exotica marooned in Merseyside, while also evoking Morricone’s feel for atmosphere from behind sheets of Irish drizzle, and in the process finds kinship - whether intended or not - with Wolf Eyes’ trip metal scapes or Nate Young’s Regressions Sessions, as much as Mark Jenkins’ limning of Cornish ambience in his own films. Like all of them, Hogan’s music contains the power to seduce, transport, and colour the subconsciousness, short-circuiting synaesthetic and imagined sensations with a natural feel for metaphysical space.
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