Anjou
Epithymía
Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
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Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
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Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
Out of Stock
Boomkat Product Review:
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
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