Recorded live at the Music Research Centre at the University of York, ‘Leyfdu ljosinu’ is the latest full-length from Icelandic cellist Hildur Gudnadottir, and follows 2009’s phenomenal ‘Without Sinking’. Again we are treated to Gudnadottir’s delicate melancholia, but unlike its predecessor, ‘Leyfdu ljosinu’ is one single piece, recorded in one take with absolutely no post production to meddle with the sublime nature of the tonality itself. This gives the album a rare sense of levity and depth, and a pacing that many so-called ‘experimental’ artists attempt but few manage to truly master. A quiet album by modern standards, Gudnadottir seems happy for her rumbling stringwork to occasionally blur into a cloud of barely audible drone, while her gorgeous vocals are smudged into echoes of what they once were. It almost sounds like a transmission from another time pushing itself through corroded wires to get through. Needless to say this is right up our street, and should have fans of Juliana Barwick, Julia Holter or Grouper’s recent work clamoring for more.
View more
Recorded live at the Music Research Centre at the University of York, ‘Leyfdu ljosinu’ is the latest full-length from Icelandic cellist Hildur Gudnadottir, and follows 2009’s phenomenal ‘Without Sinking’. Again we are treated to Gudnadottir’s delicate melancholia, but unlike its predecessor, ‘Leyfdu ljosinu’ is one single piece, recorded in one take with absolutely no post production to meddle with the sublime nature of the tonality itself. This gives the album a rare sense of levity and depth, and a pacing that many so-called ‘experimental’ artists attempt but few manage to truly master. A quiet album by modern standards, Gudnadottir seems happy for her rumbling stringwork to occasionally blur into a cloud of barely audible drone, while her gorgeous vocals are smudged into echoes of what they once were. It almost sounds like a transmission from another time pushing itself through corroded wires to get through. Needless to say this is right up our street, and should have fans of Juliana Barwick, Julia Holter or Grouper’s recent work clamoring for more.
Recorded live at the Music Research Centre at the University of York, ‘Leyfdu ljosinu’ is the latest full-length from Icelandic cellist Hildur Gudnadottir, and follows 2009’s phenomenal ‘Without Sinking’. Again we are treated to Gudnadottir’s delicate melancholia, but unlike its predecessor, ‘Leyfdu ljosinu’ is one single piece, recorded in one take with absolutely no post production to meddle with the sublime nature of the tonality itself. This gives the album a rare sense of levity and depth, and a pacing that many so-called ‘experimental’ artists attempt but few manage to truly master. A quiet album by modern standards, Gudnadottir seems happy for her rumbling stringwork to occasionally blur into a cloud of barely audible drone, while her gorgeous vocals are smudged into echoes of what they once were. It almost sounds like a transmission from another time pushing itself through corroded wires to get through. Needless to say this is right up our street, and should have fans of Juliana Barwick, Julia Holter or Grouper’s recent work clamoring for more.
Recorded live at the Music Research Centre at the University of York, ‘Leyfdu ljosinu’ is the latest full-length from Icelandic cellist Hildur Gudnadottir, and follows 2009’s phenomenal ‘Without Sinking’. Again we are treated to Gudnadottir’s delicate melancholia, but unlike its predecessor, ‘Leyfdu ljosinu’ is one single piece, recorded in one take with absolutely no post production to meddle with the sublime nature of the tonality itself. This gives the album a rare sense of levity and depth, and a pacing that many so-called ‘experimental’ artists attempt but few manage to truly master. A quiet album by modern standards, Gudnadottir seems happy for her rumbling stringwork to occasionally blur into a cloud of barely audible drone, while her gorgeous vocals are smudged into echoes of what they once were. It almost sounds like a transmission from another time pushing itself through corroded wires to get through. Needless to say this is right up our street, and should have fans of Juliana Barwick, Julia Holter or Grouper’s recent work clamoring for more.