Quick on the heels of her 'Sisto' tape, Stockholm's Quiltland yields a quietly lush debut album including a gorgeous 1991 remix. After acclimating to the lucid highs of her flighty debut, this eponymous entry is a gentler ride with a dreamlike narrative, maybe best heard as the come-down to 'Sisto''s peaks. The idea of narrative is taken quite literally with tracks titled= 'Scene 1', 'A Second Theme' and 'Motivation' all looking and sounding like library themes or cues for a long-lost Scando kids TV programme, the odd sort which would be syndicated to wide-eyed sprogs/ravers at 6am back when there was only 4 TV channels or you were lucky enough to know someone with a dodgy satellite dish that picked up foreign transmissions. Most crucial to this appeal is Quiltland's deceptively simple melodic arrangements, coaxing cottony chords, chiming synth chorales and ferric-insulated rhythms into sublime structures mostly suffused with her own sylphen vocals ranging from detached harmonies to soft focus close-ups. We're a little smitten after a few listens, and by the time we get to 1991's VHS worn, neon-streaked closing remix, we're very ready to dive back into Quiltland again. RIYL MSOTT, 1991, Sand Circles, Moon Wheel.
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Quick on the heels of her 'Sisto' tape, Stockholm's Quiltland yields a quietly lush debut album including a gorgeous 1991 remix. After acclimating to the lucid highs of her flighty debut, this eponymous entry is a gentler ride with a dreamlike narrative, maybe best heard as the come-down to 'Sisto''s peaks. The idea of narrative is taken quite literally with tracks titled= 'Scene 1', 'A Second Theme' and 'Motivation' all looking and sounding like library themes or cues for a long-lost Scando kids TV programme, the odd sort which would be syndicated to wide-eyed sprogs/ravers at 6am back when there was only 4 TV channels or you were lucky enough to know someone with a dodgy satellite dish that picked up foreign transmissions. Most crucial to this appeal is Quiltland's deceptively simple melodic arrangements, coaxing cottony chords, chiming synth chorales and ferric-insulated rhythms into sublime structures mostly suffused with her own sylphen vocals ranging from detached harmonies to soft focus close-ups. We're a little smitten after a few listens, and by the time we get to 1991's VHS worn, neon-streaked closing remix, we're very ready to dive back into Quiltland again. RIYL MSOTT, 1991, Sand Circles, Moon Wheel.
Quick on the heels of her 'Sisto' tape, Stockholm's Quiltland yields a quietly lush debut album including a gorgeous 1991 remix. After acclimating to the lucid highs of her flighty debut, this eponymous entry is a gentler ride with a dreamlike narrative, maybe best heard as the come-down to 'Sisto''s peaks. The idea of narrative is taken quite literally with tracks titled= 'Scene 1', 'A Second Theme' and 'Motivation' all looking and sounding like library themes or cues for a long-lost Scando kids TV programme, the odd sort which would be syndicated to wide-eyed sprogs/ravers at 6am back when there was only 4 TV channels or you were lucky enough to know someone with a dodgy satellite dish that picked up foreign transmissions. Most crucial to this appeal is Quiltland's deceptively simple melodic arrangements, coaxing cottony chords, chiming synth chorales and ferric-insulated rhythms into sublime structures mostly suffused with her own sylphen vocals ranging from detached harmonies to soft focus close-ups. We're a little smitten after a few listens, and by the time we get to 1991's VHS worn, neon-streaked closing remix, we're very ready to dive back into Quiltland again. RIYL MSOTT, 1991, Sand Circles, Moon Wheel.
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Quick on the heels of her 'Sisto' tape, Stockholm's Quiltland yields a quietly lush debut album including a gorgeous 1991 remix. After acclimating to the lucid highs of her flighty debut, this eponymous entry is a gentler ride with a dreamlike narrative, maybe best heard as the come-down to 'Sisto''s peaks. The idea of narrative is taken quite literally with tracks titled= 'Scene 1', 'A Second Theme' and 'Motivation' all looking and sounding like library themes or cues for a long-lost Scando kids TV programme, the odd sort which would be syndicated to wide-eyed sprogs/ravers at 6am back when there was only 4 TV channels or you were lucky enough to know someone with a dodgy satellite dish that picked up foreign transmissions. Most crucial to this appeal is Quiltland's deceptively simple melodic arrangements, coaxing cottony chords, chiming synth chorales and ferric-insulated rhythms into sublime structures mostly suffused with her own sylphen vocals ranging from detached harmonies to soft focus close-ups. We're a little smitten after a few listens, and by the time we get to 1991's VHS worn, neon-streaked closing remix, we're very ready to dive back into Quiltland again. RIYL MSOTT, 1991, Sand Circles, Moon Wheel.