Ian William Craig & Daniel Lentz
FRKWYS Vol. 16: In a Word
Ian William Craig & Daniel Lentz
FRKWYS Vol. 16: In a Word
Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
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Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
Estimated Release Date: 12 March 2021
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
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Boomkat Product Review:
Pairing post-minimalist master Daniel Lentz and the spectral tenor of Ian William Craig, the 16th edition of FRKWYS inter-generational couplings is a starkly beautiful suite of elegiac keys and warbling tape textures - a strong RIYl Harold Budd, Tape Loop Orchestra, Willim Basinski
Accompanied by a soon come documentary on the pair by director Eli Welbourne, ‘In A Word’ sees Craig & Lentz undo each other in brittle but sublime style that, as the label eloquently put it, “embraces erosion and the potential of its loam left behind.” It’s surely one of the subtlest charms on the long-running and illustrious roll call of the FRKWYS series, highlighting the timeless, otherworldlyy intent and transportive power of two artists who respectively emerged some 30 years apart, but patently share a sense of pathos that resonates for the ages.
In nine pieces they spell out a hauntingly lived-in sound, evoking a sort of parlour music for creaky abandoned dwellings, imagining a post-dinner performance of ghosts that emerge from cracked wood panels and tatty curtains in once-splendid settings, seemingly convening around a dilapidated grand piano with chipped keys and peeling walnut wood, to play out lamenting nocturnes rendered in mildewed harmonics and fizzing dissonance, with Craig’s beautifully faltering, vulnerable vocals vacillating folkwise and classical spirits.
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