New History Warfare Vol. 3: To See More Light
Colin Stetson
New History Warfare Vol. 3: To See More Light
Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
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Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
Back in stock. Gatefold 180g vinyl 2LP. Includes art print poster and download code.
Out of Stock
Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
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Boomkat Product Review:
The third volume of electronics-savvy saxophonist Colin Stetson's New History Warfare album series, and if you ask us, the most pungent and poignant of the lot - thanks in no small part to the dab hand of Ben Frost, who recorded its 11 tracks in single takes and has done a splendid job of capturing the molten intensity of a Stetson live performance.
Pre-release chatter has focussed on the presence of Justin Vernon, who handles lead vocals on four of the tracks: particularly noteworthy are the pulsating, cyclical opener ‘And In Truth’, which sounds like Philip Glass's 'Floe' sung by the Beach Boys, and a cover of Washington Phillip’s gospel song ‘What Are They Doing In Heaven Today?’, in which the Bon Iver mainman comes over like a spiritually wracked Randy Newman (i.e. you have to be in the right mood, to say the least). Vocals appear elsewhere throughout the record, but as more of a spectral, gaseous presence supplying texture above all else; but of course it’s Stetson’s extraordinary sax-playing that’s the star of the show, providing as it does rhythm, tonal colour and flights of aching, jazzy lyricism, often in the space of a single piece. It’s impossible to separate the instrument from the musician: Stetson’s sax feels like an extension of his soul,if you'll forgive the cliche, possessed of a fluency and fire that demands your full attention.
We’re particularly blown away by the aptly named ‘Brute’, a grinding, propulsive industrial blues that conveys more violence and viscerality than a hundred blown-out noise sides, but are getting just as much succour from the gothic melodrama of ‘To See More Light' and the more plaintive chamber-style pieces like ‘Among The Sef’, which summons 70s John Surman and even the Michael Nyman Band - though the tremulous calm of the harmonies contrasts with the sound of Stetson’s fingers furiously gunning the keys. It’s incidental details like this, not just Stetson’s profound virtuosity, that make this record such a worthy proposition.
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