The love it took to leave you
Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.
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Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.
Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.
Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.
Gatefold sleeve
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Sax wielder of choice, Colin Stetson weighs in a mighty new missive.
Blowing for dear life thru a full PA set up in the cavernous dimensions of The Darling Foundry, a 144-year old former metalworks in Montreal, now used as arts space, Stetson deploys big lungs and physical prowess to the point where he must have been absolutely paggered after recording. The architecture of concrete, steel and brick is a key part part of the music, as Stetson sounds out his bass saxophone like a wounded demon against its imposing surfaces, as he describes: “we were really able to move the kind of air that I can move, really saturating the room, hitting the walls hard.”
Multi-tracked in post-production, the results capture a ferocious, if tempered, energy that unfolds a bold new chapter in a solo saga that started 20 years ago, and really came to light with the advent of his ‘New History Warfare’ volumes, or which he considers this one a sort of prequel. Across its feature length duration he keens and swarms over warehouse ponding reverberations in the title piece and harnesses a thrashing jazz noir adjacent Alex Zhang Hungtai’s killer Modern Love side with ‘The Six’, alleviating the pressure in ‘The Augur’ and frankly humps your lugs in ‘Hollowing’.
A 9’ centrepiece of elemental howl and mournful cadence, ‘Malediction’, isn’t even the longest, with ’Strike your forge and grin’ stretching out to 23’ of Sunn 0)))-like solar flare drone overtone lash, and ‘So say the soaring bullbats’ recalls Phurpa’s extended vocal tekkerz transposed to brass. Trust you’ll need a snout or two after this one.