Socio-ecologically-minded field recordist and dreamweaver Natalia Beylis marks a decade of distinctive releases with this literal and metaphoric examination of her environment in County Leitrim, where she has lived for the past 18 years. Magical, highly nuanced work from a clearly gifted and poetic documentarian.
Following releases for prominent Irish labels Touch Sensitive, Nyahh, and Fort Evil Fruit, Beylis lands on Outside Time, a new imprint from writer and Smithsonian Folkways label curator Jonathan Williger. Approaching her subject matter with a mix of subtly unsettling soundscapes and interviews with volunteers of The Leitrim Sweathouse Project, she offers a snapshot of a very specific moment - preserved for posterity - while also highlighting universal, age-old themes of industrialisation, decay, and the unforgiving passage of time.
The A-side’s 19 minute title piece, a soundtrack to an installation by visual artist Annie Hogg, offers a keen reading of Beylis’ local environment, a rural region that has become affected by manmade forestry monocultures and large-scale industrial farming. She echoes environmental erosion with a transition from scenes rich with local bird calls and bucolic ambient to a much starker arrangement of electronics and industrial noise, where real recordings of nature are swapped with samples taken from mid-century birdsong albums, made at a different place and time entirely, accentuating the gradual creep of the artificial.
Members of the Leitrim Sweathouse Project, a community group that documents the area’s stone-built chambers used to cure various illnesses in rural Ireland before the 20th century, are interviewed on the following piece, providing accounts of the many hidden (and now defunct) structures scattered at the edges of Leitrim’s populated areas. Together with a snapshot of stroked ceramic bowls, and the rich organ drones of ‘The Roots of the Mountain Ash Embrace the Stone’, the B-side poses more esoteric and existential questions, wondering what Ireland has lost in translation with its shift to the modern world.
It makes for a uniquely immersive album, tactfully crafted and cognisant of holistic links between the landscape and its people, in a way that’s both tender and pointed.
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Socio-ecologically-minded field recordist and dreamweaver Natalia Beylis marks a decade of distinctive releases with this literal and metaphoric examination of her environment in County Leitrim, where she has lived for the past 18 years. Magical, highly nuanced work from a clearly gifted and poetic documentarian.
Following releases for prominent Irish labels Touch Sensitive, Nyahh, and Fort Evil Fruit, Beylis lands on Outside Time, a new imprint from writer and Smithsonian Folkways label curator Jonathan Williger. Approaching her subject matter with a mix of subtly unsettling soundscapes and interviews with volunteers of The Leitrim Sweathouse Project, she offers a snapshot of a very specific moment - preserved for posterity - while also highlighting universal, age-old themes of industrialisation, decay, and the unforgiving passage of time.
The A-side’s 19 minute title piece, a soundtrack to an installation by visual artist Annie Hogg, offers a keen reading of Beylis’ local environment, a rural region that has become affected by manmade forestry monocultures and large-scale industrial farming. She echoes environmental erosion with a transition from scenes rich with local bird calls and bucolic ambient to a much starker arrangement of electronics and industrial noise, where real recordings of nature are swapped with samples taken from mid-century birdsong albums, made at a different place and time entirely, accentuating the gradual creep of the artificial.
Members of the Leitrim Sweathouse Project, a community group that documents the area’s stone-built chambers used to cure various illnesses in rural Ireland before the 20th century, are interviewed on the following piece, providing accounts of the many hidden (and now defunct) structures scattered at the edges of Leitrim’s populated areas. Together with a snapshot of stroked ceramic bowls, and the rich organ drones of ‘The Roots of the Mountain Ash Embrace the Stone’, the B-side poses more esoteric and existential questions, wondering what Ireland has lost in translation with its shift to the modern world.
It makes for a uniquely immersive album, tactfully crafted and cognisant of holistic links between the landscape and its people, in a way that’s both tender and pointed.
Socio-ecologically-minded field recordist and dreamweaver Natalia Beylis marks a decade of distinctive releases with this literal and metaphoric examination of her environment in County Leitrim, where she has lived for the past 18 years. Magical, highly nuanced work from a clearly gifted and poetic documentarian.
Following releases for prominent Irish labels Touch Sensitive, Nyahh, and Fort Evil Fruit, Beylis lands on Outside Time, a new imprint from writer and Smithsonian Folkways label curator Jonathan Williger. Approaching her subject matter with a mix of subtly unsettling soundscapes and interviews with volunteers of The Leitrim Sweathouse Project, she offers a snapshot of a very specific moment - preserved for posterity - while also highlighting universal, age-old themes of industrialisation, decay, and the unforgiving passage of time.
The A-side’s 19 minute title piece, a soundtrack to an installation by visual artist Annie Hogg, offers a keen reading of Beylis’ local environment, a rural region that has become affected by manmade forestry monocultures and large-scale industrial farming. She echoes environmental erosion with a transition from scenes rich with local bird calls and bucolic ambient to a much starker arrangement of electronics and industrial noise, where real recordings of nature are swapped with samples taken from mid-century birdsong albums, made at a different place and time entirely, accentuating the gradual creep of the artificial.
Members of the Leitrim Sweathouse Project, a community group that documents the area’s stone-built chambers used to cure various illnesses in rural Ireland before the 20th century, are interviewed on the following piece, providing accounts of the many hidden (and now defunct) structures scattered at the edges of Leitrim’s populated areas. Together with a snapshot of stroked ceramic bowls, and the rich organ drones of ‘The Roots of the Mountain Ash Embrace the Stone’, the B-side poses more esoteric and existential questions, wondering what Ireland has lost in translation with its shift to the modern world.
It makes for a uniquely immersive album, tactfully crafted and cognisant of holistic links between the landscape and its people, in a way that’s both tender and pointed.
Socio-ecologically-minded field recordist and dreamweaver Natalia Beylis marks a decade of distinctive releases with this literal and metaphoric examination of her environment in County Leitrim, where she has lived for the past 18 years. Magical, highly nuanced work from a clearly gifted and poetic documentarian.
Following releases for prominent Irish labels Touch Sensitive, Nyahh, and Fort Evil Fruit, Beylis lands on Outside Time, a new imprint from writer and Smithsonian Folkways label curator Jonathan Williger. Approaching her subject matter with a mix of subtly unsettling soundscapes and interviews with volunteers of The Leitrim Sweathouse Project, she offers a snapshot of a very specific moment - preserved for posterity - while also highlighting universal, age-old themes of industrialisation, decay, and the unforgiving passage of time.
The A-side’s 19 minute title piece, a soundtrack to an installation by visual artist Annie Hogg, offers a keen reading of Beylis’ local environment, a rural region that has become affected by manmade forestry monocultures and large-scale industrial farming. She echoes environmental erosion with a transition from scenes rich with local bird calls and bucolic ambient to a much starker arrangement of electronics and industrial noise, where real recordings of nature are swapped with samples taken from mid-century birdsong albums, made at a different place and time entirely, accentuating the gradual creep of the artificial.
Members of the Leitrim Sweathouse Project, a community group that documents the area’s stone-built chambers used to cure various illnesses in rural Ireland before the 20th century, are interviewed on the following piece, providing accounts of the many hidden (and now defunct) structures scattered at the edges of Leitrim’s populated areas. Together with a snapshot of stroked ceramic bowls, and the rich organ drones of ‘The Roots of the Mountain Ash Embrace the Stone’, the B-side poses more esoteric and existential questions, wondering what Ireland has lost in translation with its shift to the modern world.
It makes for a uniquely immersive album, tactfully crafted and cognisant of holistic links between the landscape and its people, in a way that’s both tender and pointed.
Edition of 200 copies, comes with a download of the album dropped to your account. Cover photo by Laura Gallagher, design by Josh Levi. Mastered by Andrew Weathers
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Socio-ecologically-minded field recordist and dreamweaver Natalia Beylis marks a decade of distinctive releases with this literal and metaphoric examination of her environment in County Leitrim, where she has lived for the past 18 years. Magical, highly nuanced work from a clearly gifted and poetic documentarian.
Following releases for prominent Irish labels Touch Sensitive, Nyahh, and Fort Evil Fruit, Beylis lands on Outside Time, a new imprint from writer and Smithsonian Folkways label curator Jonathan Williger. Approaching her subject matter with a mix of subtly unsettling soundscapes and interviews with volunteers of The Leitrim Sweathouse Project, she offers a snapshot of a very specific moment - preserved for posterity - while also highlighting universal, age-old themes of industrialisation, decay, and the unforgiving passage of time.
The A-side’s 19 minute title piece, a soundtrack to an installation by visual artist Annie Hogg, offers a keen reading of Beylis’ local environment, a rural region that has become affected by manmade forestry monocultures and large-scale industrial farming. She echoes environmental erosion with a transition from scenes rich with local bird calls and bucolic ambient to a much starker arrangement of electronics and industrial noise, where real recordings of nature are swapped with samples taken from mid-century birdsong albums, made at a different place and time entirely, accentuating the gradual creep of the artificial.
Members of the Leitrim Sweathouse Project, a community group that documents the area’s stone-built chambers used to cure various illnesses in rural Ireland before the 20th century, are interviewed on the following piece, providing accounts of the many hidden (and now defunct) structures scattered at the edges of Leitrim’s populated areas. Together with a snapshot of stroked ceramic bowls, and the rich organ drones of ‘The Roots of the Mountain Ash Embrace the Stone’, the B-side poses more esoteric and existential questions, wondering what Ireland has lost in translation with its shift to the modern world.
It makes for a uniquely immersive album, tactfully crafted and cognisant of holistic links between the landscape and its people, in a way that’s both tender and pointed.