Really Early Really Late
Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.
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Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.
Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.
Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.
Limited edition crystal clear coloured double LP + CD bundle.
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Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.
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Hood co-founder Richard Adams most impressively emulates Mark Hollis’ godly solo work with a jazz and folk-tinged post rock beauty in his beloved guise as The Declining Winter - do not skip without checking the heavenly catharsis of ‘This Heart Beats Black’! RIYL Talk Talk, Rachel’s, Sam Prekop, Hood, Red House Painters, Bark Psychosis, The Notwist, Sandro Perri...
It's Adams' ability to capture movement in his songwriting that's always left us breathless. His breathy vocals are the immediate draw, but listen to the tension and release in 'Song of the Moore Fire', how it builds gently from gentle, loop-y phrases into a celestial, jazzy resolution without resorting to the expected quiet-loud structure - it's magic. And we might play fast and loose with the 'Spirit of Eden'/'Laughing Stock' references, but 'Really Early Really Late' truly deserves it; Adams references Hollis's magical realism directly, but it's the momentum - the bluster of tempered jazz and pastoral folk - that snatches the prize.
Adams recorded the album in West Yorkshire over a five-year period, bringing in remote collaborations from violinist Sarah Kemp, cellist Peter Hollo and guitarist Ben Holton, among others. But it doesn't sound like a fragmented affair; Adams' engineering skills convince you there's a full band in the studio, and his delicate electronic treatments never break the fourth wall. Tweezed riffs dance with wailing horns and lighter-than-air drums, and Adams' voice sails gracefully over the froth. Then when we reach 'This Heart Beats Black', the record veers into a completely different realm, laying Adams' careful words over glassy pads and beating, pulse-like bass. It's a dreamworld we could live in forever.