Instability of the Signal
SIMON FISHER TURNER
Instability of the Signal
Boomkat Product Review:
Mixing up slivers of processed audio from Salford Electronics, sounds from his vast recording archive, strings from Elysian Collective and his own vocals, legendary polymath Simon Fisher Turner reconciles his extensive and varied recording career on a quietly dramatic new album. Inevitable comparisons to Coil/Sleazy - but this is also entirely its own thing - a portal into an ambitious, spectral soundworld tipped if you're into Noto/Sakamoto, Anohni, Klaus Nomi.
Famously, Fisher Turner was a child actor in the late '60s, he signed a record deal in the early '70s and embarked on a short-lived pop career before realising his interests lay further out in the weeds. After making his mark on ambient pop with Colin Lloyd Tucker as Deux Filles, Fisher Turner waltzed into soundtrack composition, working closely with Derek Jarman. Since then, he's kept himself busy with solo work, allying himself with Editions Mego and collaborating with Klara Lewis on the brilliant 'Care' in 2018, and six years later he's on Mute, surveying decades of work and figuring out a way to collate all his many loose threads.
Fisher Turner determined that there were four main aspects to his process: "slivers", "sounds", "strings" and "singing". The slivers are effectively samples, and on 'Instability of the Signal' he uses material made by Salford Electronics (aka David Padbury) that he sculpts into entirely new soundscapes that anchor many of the tracks. The sounds include other loose elements - field recordings, noise - that Fisher Turner has spent a lifetime collecting, while the strings are provided by acclaimed quartet the Elysian Collective. And the singing speaks for itself: Fisher Turner's unusual cut 'n paste vocals are pushed into the forefront, allowed to echo around glassy, minimalist electronics and shimmering orchestral flourishes.
'Instability of the Signal' is a delicate, moonlit set that gestures towards its subject matter - artists Breda Beban, Hrvoje Horvatic, and poet Harold Pinter - without making straightforward motions. Lead single 'Barefeet' is a fine example, with its sparse lyrics draping themselves over faint bass throbs and Line-level crackles. Fisher Turner keeps things in motion by shuffling his more upfront lyrical tracks with eerie score-like string numbers - like 'Turning Slowly' or the theatrical 'Thrashing It Out' - and intimate, goosebump-inducing experiments such as 'I Can't Hear Anything' and 'Fishscales'.
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Boomkat Product Review:
Mixing up slivers of processed audio from Salford Electronics, sounds from his vast recording archive, strings from Elysian Collective and his own vocals, legendary polymath Simon Fisher Turner reconciles his extensive and varied recording career on a quietly dramatic new album. Inevitable comparisons to Coil/Sleazy - but this is also entirely its own thing - a portal into an ambitious, spectral soundworld tipped if you're into Noto/Sakamoto, Anohni, Klaus Nomi.
Famously, Fisher Turner was a child actor in the late '60s, he signed a record deal in the early '70s and embarked on a short-lived pop career before realising his interests lay further out in the weeds. After making his mark on ambient pop with Colin Lloyd Tucker as Deux Filles, Fisher Turner waltzed into soundtrack composition, working closely with Derek Jarman. Since then, he's kept himself busy with solo work, allying himself with Editions Mego and collaborating with Klara Lewis on the brilliant 'Care' in 2018, and six years later he's on Mute, surveying decades of work and figuring out a way to collate all his many loose threads.
Fisher Turner determined that there were four main aspects to his process: "slivers", "sounds", "strings" and "singing". The slivers are effectively samples, and on 'Instability of the Signal' he uses material made by Salford Electronics (aka David Padbury) that he sculpts into entirely new soundscapes that anchor many of the tracks. The sounds include other loose elements - field recordings, noise - that Fisher Turner has spent a lifetime collecting, while the strings are provided by acclaimed quartet the Elysian Collective. And the singing speaks for itself: Fisher Turner's unusual cut 'n paste vocals are pushed into the forefront, allowed to echo around glassy, minimalist electronics and shimmering orchestral flourishes.
'Instability of the Signal' is a delicate, moonlit set that gestures towards its subject matter - artists Breda Beban, Hrvoje Horvatic, and poet Harold Pinter - without making straightforward motions. Lead single 'Barefeet' is a fine example, with its sparse lyrics draping themselves over faint bass throbs and Line-level crackles. Fisher Turner keeps things in motion by shuffling his more upfront lyrical tracks with eerie score-like string numbers - like 'Turning Slowly' or the theatrical 'Thrashing It Out' - and intimate, goosebump-inducing experiments such as 'I Can't Hear Anything' and 'Fishscales'.
Boomkat Product Review:
Mixing up slivers of processed audio from Salford Electronics, sounds from his vast recording archive, strings from Elysian Collective and his own vocals, legendary polymath Simon Fisher Turner reconciles his extensive and varied recording career on a quietly dramatic new album. Inevitable comparisons to Coil/Sleazy - but this is also entirely its own thing - a portal into an ambitious, spectral soundworld tipped if you're into Noto/Sakamoto, Anohni, Klaus Nomi.
Famously, Fisher Turner was a child actor in the late '60s, he signed a record deal in the early '70s and embarked on a short-lived pop career before realising his interests lay further out in the weeds. After making his mark on ambient pop with Colin Lloyd Tucker as Deux Filles, Fisher Turner waltzed into soundtrack composition, working closely with Derek Jarman. Since then, he's kept himself busy with solo work, allying himself with Editions Mego and collaborating with Klara Lewis on the brilliant 'Care' in 2018, and six years later he's on Mute, surveying decades of work and figuring out a way to collate all his many loose threads.
Fisher Turner determined that there were four main aspects to his process: "slivers", "sounds", "strings" and "singing". The slivers are effectively samples, and on 'Instability of the Signal' he uses material made by Salford Electronics (aka David Padbury) that he sculpts into entirely new soundscapes that anchor many of the tracks. The sounds include other loose elements - field recordings, noise - that Fisher Turner has spent a lifetime collecting, while the strings are provided by acclaimed quartet the Elysian Collective. And the singing speaks for itself: Fisher Turner's unusual cut 'n paste vocals are pushed into the forefront, allowed to echo around glassy, minimalist electronics and shimmering orchestral flourishes.
'Instability of the Signal' is a delicate, moonlit set that gestures towards its subject matter - artists Breda Beban, Hrvoje Horvatic, and poet Harold Pinter - without making straightforward motions. Lead single 'Barefeet' is a fine example, with its sparse lyrics draping themselves over faint bass throbs and Line-level crackles. Fisher Turner keeps things in motion by shuffling his more upfront lyrical tracks with eerie score-like string numbers - like 'Turning Slowly' or the theatrical 'Thrashing It Out' - and intimate, goosebump-inducing experiments such as 'I Can't Hear Anything' and 'Fishscales'.
Boomkat Product Review:
Mixing up slivers of processed audio from Salford Electronics, sounds from his vast recording archive, strings from Elysian Collective and his own vocals, legendary polymath Simon Fisher Turner reconciles his extensive and varied recording career on a quietly dramatic new album. Inevitable comparisons to Coil/Sleazy - but this is also entirely its own thing - a portal into an ambitious, spectral soundworld tipped if you're into Noto/Sakamoto, Anohni, Klaus Nomi.
Famously, Fisher Turner was a child actor in the late '60s, he signed a record deal in the early '70s and embarked on a short-lived pop career before realising his interests lay further out in the weeds. After making his mark on ambient pop with Colin Lloyd Tucker as Deux Filles, Fisher Turner waltzed into soundtrack composition, working closely with Derek Jarman. Since then, he's kept himself busy with solo work, allying himself with Editions Mego and collaborating with Klara Lewis on the brilliant 'Care' in 2018, and six years later he's on Mute, surveying decades of work and figuring out a way to collate all his many loose threads.
Fisher Turner determined that there were four main aspects to his process: "slivers", "sounds", "strings" and "singing". The slivers are effectively samples, and on 'Instability of the Signal' he uses material made by Salford Electronics (aka David Padbury) that he sculpts into entirely new soundscapes that anchor many of the tracks. The sounds include other loose elements - field recordings, noise - that Fisher Turner has spent a lifetime collecting, while the strings are provided by acclaimed quartet the Elysian Collective. And the singing speaks for itself: Fisher Turner's unusual cut 'n paste vocals are pushed into the forefront, allowed to echo around glassy, minimalist electronics and shimmering orchestral flourishes.
'Instability of the Signal' is a delicate, moonlit set that gestures towards its subject matter - artists Breda Beban, Hrvoje Horvatic, and poet Harold Pinter - without making straightforward motions. Lead single 'Barefeet' is a fine example, with its sparse lyrics draping themselves over faint bass throbs and Line-level crackles. Fisher Turner keeps things in motion by shuffling his more upfront lyrical tracks with eerie score-like string numbers - like 'Turning Slowly' or the theatrical 'Thrashing It Out' - and intimate, goosebump-inducing experiments such as 'I Can't Hear Anything' and 'Fishscales'.
Limited edition of 500 copies. Includes extensive sleeve notes.
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Boomkat Product Review:
Mixing up slivers of processed audio from Salford Electronics, sounds from his vast recording archive, strings from Elysian Collective and his own vocals, legendary polymath Simon Fisher Turner reconciles his extensive and varied recording career on a quietly dramatic new album. Inevitable comparisons to Coil/Sleazy - but this is also entirely its own thing - a portal into an ambitious, spectral soundworld tipped if you're into Noto/Sakamoto, Anohni, Klaus Nomi.
Famously, Fisher Turner was a child actor in the late '60s, he signed a record deal in the early '70s and embarked on a short-lived pop career before realising his interests lay further out in the weeds. After making his mark on ambient pop with Colin Lloyd Tucker as Deux Filles, Fisher Turner waltzed into soundtrack composition, working closely with Derek Jarman. Since then, he's kept himself busy with solo work, allying himself with Editions Mego and collaborating with Klara Lewis on the brilliant 'Care' in 2018, and six years later he's on Mute, surveying decades of work and figuring out a way to collate all his many loose threads.
Fisher Turner determined that there were four main aspects to his process: "slivers", "sounds", "strings" and "singing". The slivers are effectively samples, and on 'Instability of the Signal' he uses material made by Salford Electronics (aka David Padbury) that he sculpts into entirely new soundscapes that anchor many of the tracks. The sounds include other loose elements - field recordings, noise - that Fisher Turner has spent a lifetime collecting, while the strings are provided by acclaimed quartet the Elysian Collective. And the singing speaks for itself: Fisher Turner's unusual cut 'n paste vocals are pushed into the forefront, allowed to echo around glassy, minimalist electronics and shimmering orchestral flourishes.
'Instability of the Signal' is a delicate, moonlit set that gestures towards its subject matter - artists Breda Beban, Hrvoje Horvatic, and poet Harold Pinter - without making straightforward motions. Lead single 'Barefeet' is a fine example, with its sparse lyrics draping themselves over faint bass throbs and Line-level crackles. Fisher Turner keeps things in motion by shuffling his more upfront lyrical tracks with eerie score-like string numbers - like 'Turning Slowly' or the theatrical 'Thrashing It Out' - and intimate, goosebump-inducing experiments such as 'I Can't Hear Anything' and 'Fishscales'.
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