The Wind That Had Not Touched Land
Annie A
The Wind That Had Not Touched Land
Boomkat Product Review:
Properly frosted, this one-off collab between Félicia Atkinson, Time is Away, poet Christina Petrie and Maxine Funke matches chilly, minimal instrumentation, terse environmental recordings and subtle electronic ambience with spoken word abstractions and beguiling half-sung fragments. RIYL Perila, Simon Fisher Turner or Elodie.
Like us, Atkinson was blown away by Time is Away's 2021 "certified classic" 'Ballads' and Funke's tangled, dreamy fourth album 'Seance', so 'The Wind That Had Not Touched Land' doesn't exactly come out of nowhere. She met up with Time is Away and Petrie (who first appeared on 'Ballads') when she was in London, and they split the work neatly between them - Atkinson handled the writing and instrumentation, Time is Away's Jack Rollo and Elaine Tierny took care of the arrangements, Petrie contributed her profound words to a handful of tracks and Maxine Funke's creaky 'Nasturtium Runners (Read by the Rain)' provided a tidy, heartfelt finale. Basically, if you're into Rollo and Tierny's narrative-themed mixes and Atkinson's recent run of hushed, meditative expressions, you're gonna be into it.
"No more," Atkinson half whispers, half sings on 'First the Crocus', letting one-note oboe and evocative seaside washes lap at her words. These aren't exactly her regular compositions though; ceding the arranging duties to Time is Away, there's a sense of delicate deconstruction and reconstruction as each element fades into the next. Tape damaged French words disrupt the flow for a second, and Atkinson's clipped instrumental phrases run on into 'The Wind That Had Not Touched Land' as if they're being patchworked into a billowing tapestry. Petrie's voice takes the lead at this point, and it's a revelation. The poet and performer grew up in France and the UK, so her thoughtful English-language take on French lyricism perfectly harmonizes with Atkinson's own approach.
"Losing shape, the air finds itself again, the edge moves and it stirred out of shape," she coolly recites. "Here is a loose thread in the mind's eye, I'll take that thread wherever I can." The words sound as if they're reflecting Atkinson's soft tones, that almost disappear - woodwind vanishes into sub-aquatic ambience and microscopic electronic shivers. "The wind that had not touched land, but had gathered up salt at the ocean," Petrie echoes. The short, lullaby-like 'Aria' precedes Petrie's next appearance, laying out the emotional groundwork with soft electric piano improvisations and close-mic'd captures of hands on fabric. Petrie appears to acknowledge this literally on 'Like a Sail or a Bed': "The weaving grows row by row," she states intentionally over distant, celestial hums. "Stretched on the frame of a loom like a sail or a bed."
Rollo and Tierny's experience allows them to step a few paces back and work in landscape, and their circumspect treatment is never overwhelming. Sewing the sparse blocks of sound together delicately and sensitively, they bring our attention to odd tones and geometries - it makes sense that the project itself is named after visionary German textile artist Anni Albers. And the final gut-punch comes with Funke's sole contribution, a relaxed, homespun folk reverie that balances the album out like a hot drink on a cold night. In its own way, 'The Wind That Had Not Touched Land' is a celebration of A Colourful Storm's euphonious house sound - a compilation record of sorts that's built around mutual appreciation.
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Boomkat Product Review:
Properly frosted, this one-off collab between Félicia Atkinson, Time is Away, poet Christina Petrie and Maxine Funke matches chilly, minimal instrumentation, terse environmental recordings and subtle electronic ambience with spoken word abstractions and beguiling half-sung fragments. RIYL Perila, Simon Fisher Turner or Elodie.
Like us, Atkinson was blown away by Time is Away's 2021 "certified classic" 'Ballads' and Funke's tangled, dreamy fourth album 'Seance', so 'The Wind That Had Not Touched Land' doesn't exactly come out of nowhere. She met up with Time is Away and Petrie (who first appeared on 'Ballads') when she was in London, and they split the work neatly between them - Atkinson handled the writing and instrumentation, Time is Away's Jack Rollo and Elaine Tierny took care of the arrangements, Petrie contributed her profound words to a handful of tracks and Maxine Funke's creaky 'Nasturtium Runners (Read by the Rain)' provided a tidy, heartfelt finale. Basically, if you're into Rollo and Tierny's narrative-themed mixes and Atkinson's recent run of hushed, meditative expressions, you're gonna be into it.
"No more," Atkinson half whispers, half sings on 'First the Crocus', letting one-note oboe and evocative seaside washes lap at her words. These aren't exactly her regular compositions though; ceding the arranging duties to Time is Away, there's a sense of delicate deconstruction and reconstruction as each element fades into the next. Tape damaged French words disrupt the flow for a second, and Atkinson's clipped instrumental phrases run on into 'The Wind That Had Not Touched Land' as if they're being patchworked into a billowing tapestry. Petrie's voice takes the lead at this point, and it's a revelation. The poet and performer grew up in France and the UK, so her thoughtful English-language take on French lyricism perfectly harmonizes with Atkinson's own approach.
"Losing shape, the air finds itself again, the edge moves and it stirred out of shape," she coolly recites. "Here is a loose thread in the mind's eye, I'll take that thread wherever I can." The words sound as if they're reflecting Atkinson's soft tones, that almost disappear - woodwind vanishes into sub-aquatic ambience and microscopic electronic shivers. "The wind that had not touched land, but had gathered up salt at the ocean," Petrie echoes. The short, lullaby-like 'Aria' precedes Petrie's next appearance, laying out the emotional groundwork with soft electric piano improvisations and close-mic'd captures of hands on fabric. Petrie appears to acknowledge this literally on 'Like a Sail or a Bed': "The weaving grows row by row," she states intentionally over distant, celestial hums. "Stretched on the frame of a loom like a sail or a bed."
Rollo and Tierny's experience allows them to step a few paces back and work in landscape, and their circumspect treatment is never overwhelming. Sewing the sparse blocks of sound together delicately and sensitively, they bring our attention to odd tones and geometries - it makes sense that the project itself is named after visionary German textile artist Anni Albers. And the final gut-punch comes with Funke's sole contribution, a relaxed, homespun folk reverie that balances the album out like a hot drink on a cold night. In its own way, 'The Wind That Had Not Touched Land' is a celebration of A Colourful Storm's euphonious house sound - a compilation record of sorts that's built around mutual appreciation.
Boomkat Product Review:
Properly frosted, this one-off collab between Félicia Atkinson, Time is Away, poet Christina Petrie and Maxine Funke matches chilly, minimal instrumentation, terse environmental recordings and subtle electronic ambience with spoken word abstractions and beguiling half-sung fragments. RIYL Perila, Simon Fisher Turner or Elodie.
Like us, Atkinson was blown away by Time is Away's 2021 "certified classic" 'Ballads' and Funke's tangled, dreamy fourth album 'Seance', so 'The Wind That Had Not Touched Land' doesn't exactly come out of nowhere. She met up with Time is Away and Petrie (who first appeared on 'Ballads') when she was in London, and they split the work neatly between them - Atkinson handled the writing and instrumentation, Time is Away's Jack Rollo and Elaine Tierny took care of the arrangements, Petrie contributed her profound words to a handful of tracks and Maxine Funke's creaky 'Nasturtium Runners (Read by the Rain)' provided a tidy, heartfelt finale. Basically, if you're into Rollo and Tierny's narrative-themed mixes and Atkinson's recent run of hushed, meditative expressions, you're gonna be into it.
"No more," Atkinson half whispers, half sings on 'First the Crocus', letting one-note oboe and evocative seaside washes lap at her words. These aren't exactly her regular compositions though; ceding the arranging duties to Time is Away, there's a sense of delicate deconstruction and reconstruction as each element fades into the next. Tape damaged French words disrupt the flow for a second, and Atkinson's clipped instrumental phrases run on into 'The Wind That Had Not Touched Land' as if they're being patchworked into a billowing tapestry. Petrie's voice takes the lead at this point, and it's a revelation. The poet and performer grew up in France and the UK, so her thoughtful English-language take on French lyricism perfectly harmonizes with Atkinson's own approach.
"Losing shape, the air finds itself again, the edge moves and it stirred out of shape," she coolly recites. "Here is a loose thread in the mind's eye, I'll take that thread wherever I can." The words sound as if they're reflecting Atkinson's soft tones, that almost disappear - woodwind vanishes into sub-aquatic ambience and microscopic electronic shivers. "The wind that had not touched land, but had gathered up salt at the ocean," Petrie echoes. The short, lullaby-like 'Aria' precedes Petrie's next appearance, laying out the emotional groundwork with soft electric piano improvisations and close-mic'd captures of hands on fabric. Petrie appears to acknowledge this literally on 'Like a Sail or a Bed': "The weaving grows row by row," she states intentionally over distant, celestial hums. "Stretched on the frame of a loom like a sail or a bed."
Rollo and Tierny's experience allows them to step a few paces back and work in landscape, and their circumspect treatment is never overwhelming. Sewing the sparse blocks of sound together delicately and sensitively, they bring our attention to odd tones and geometries - it makes sense that the project itself is named after visionary German textile artist Anni Albers. And the final gut-punch comes with Funke's sole contribution, a relaxed, homespun folk reverie that balances the album out like a hot drink on a cold night. In its own way, 'The Wind That Had Not Touched Land' is a celebration of A Colourful Storm's euphonious house sound - a compilation record of sorts that's built around mutual appreciation.
Boomkat Product Review:
Properly frosted, this one-off collab between Félicia Atkinson, Time is Away, poet Christina Petrie and Maxine Funke matches chilly, minimal instrumentation, terse environmental recordings and subtle electronic ambience with spoken word abstractions and beguiling half-sung fragments. RIYL Perila, Simon Fisher Turner or Elodie.
Like us, Atkinson was blown away by Time is Away's 2021 "certified classic" 'Ballads' and Funke's tangled, dreamy fourth album 'Seance', so 'The Wind That Had Not Touched Land' doesn't exactly come out of nowhere. She met up with Time is Away and Petrie (who first appeared on 'Ballads') when she was in London, and they split the work neatly between them - Atkinson handled the writing and instrumentation, Time is Away's Jack Rollo and Elaine Tierny took care of the arrangements, Petrie contributed her profound words to a handful of tracks and Maxine Funke's creaky 'Nasturtium Runners (Read by the Rain)' provided a tidy, heartfelt finale. Basically, if you're into Rollo and Tierny's narrative-themed mixes and Atkinson's recent run of hushed, meditative expressions, you're gonna be into it.
"No more," Atkinson half whispers, half sings on 'First the Crocus', letting one-note oboe and evocative seaside washes lap at her words. These aren't exactly her regular compositions though; ceding the arranging duties to Time is Away, there's a sense of delicate deconstruction and reconstruction as each element fades into the next. Tape damaged French words disrupt the flow for a second, and Atkinson's clipped instrumental phrases run on into 'The Wind That Had Not Touched Land' as if they're being patchworked into a billowing tapestry. Petrie's voice takes the lead at this point, and it's a revelation. The poet and performer grew up in France and the UK, so her thoughtful English-language take on French lyricism perfectly harmonizes with Atkinson's own approach.
"Losing shape, the air finds itself again, the edge moves and it stirred out of shape," she coolly recites. "Here is a loose thread in the mind's eye, I'll take that thread wherever I can." The words sound as if they're reflecting Atkinson's soft tones, that almost disappear - woodwind vanishes into sub-aquatic ambience and microscopic electronic shivers. "The wind that had not touched land, but had gathered up salt at the ocean," Petrie echoes. The short, lullaby-like 'Aria' precedes Petrie's next appearance, laying out the emotional groundwork with soft electric piano improvisations and close-mic'd captures of hands on fabric. Petrie appears to acknowledge this literally on 'Like a Sail or a Bed': "The weaving grows row by row," she states intentionally over distant, celestial hums. "Stretched on the frame of a loom like a sail or a bed."
Rollo and Tierny's experience allows them to step a few paces back and work in landscape, and their circumspect treatment is never overwhelming. Sewing the sparse blocks of sound together delicately and sensitively, they bring our attention to odd tones and geometries - it makes sense that the project itself is named after visionary German textile artist Anni Albers. And the final gut-punch comes with Funke's sole contribution, a relaxed, homespun folk reverie that balances the album out like a hot drink on a cold night. In its own way, 'The Wind That Had Not Touched Land' is a celebration of A Colourful Storm's euphonious house sound - a compilation record of sorts that's built around mutual appreciation.
Estimated Release Date: 25 April 2025
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Properly frosted, this one-off collab between Félicia Atkinson, Time is Away, poet Christina Petrie and Maxine Funke matches chilly, minimal instrumentation, terse environmental recordings and subtle electronic ambience with spoken word abstractions and beguiling half-sung fragments. RIYL Perila, Simon Fisher Turner or Elodie.
Like us, Atkinson was blown away by Time is Away's 2021 "certified classic" 'Ballads' and Funke's tangled, dreamy fourth album 'Seance', so 'The Wind That Had Not Touched Land' doesn't exactly come out of nowhere. She met up with Time is Away and Petrie (who first appeared on 'Ballads') when she was in London, and they split the work neatly between them - Atkinson handled the writing and instrumentation, Time is Away's Jack Rollo and Elaine Tierny took care of the arrangements, Petrie contributed her profound words to a handful of tracks and Maxine Funke's creaky 'Nasturtium Runners (Read by the Rain)' provided a tidy, heartfelt finale. Basically, if you're into Rollo and Tierny's narrative-themed mixes and Atkinson's recent run of hushed, meditative expressions, you're gonna be into it.
"No more," Atkinson half whispers, half sings on 'First the Crocus', letting one-note oboe and evocative seaside washes lap at her words. These aren't exactly her regular compositions though; ceding the arranging duties to Time is Away, there's a sense of delicate deconstruction and reconstruction as each element fades into the next. Tape damaged French words disrupt the flow for a second, and Atkinson's clipped instrumental phrases run on into 'The Wind That Had Not Touched Land' as if they're being patchworked into a billowing tapestry. Petrie's voice takes the lead at this point, and it's a revelation. The poet and performer grew up in France and the UK, so her thoughtful English-language take on French lyricism perfectly harmonizes with Atkinson's own approach.
"Losing shape, the air finds itself again, the edge moves and it stirred out of shape," she coolly recites. "Here is a loose thread in the mind's eye, I'll take that thread wherever I can." The words sound as if they're reflecting Atkinson's soft tones, that almost disappear - woodwind vanishes into sub-aquatic ambience and microscopic electronic shivers. "The wind that had not touched land, but had gathered up salt at the ocean," Petrie echoes. The short, lullaby-like 'Aria' precedes Petrie's next appearance, laying out the emotional groundwork with soft electric piano improvisations and close-mic'd captures of hands on fabric. Petrie appears to acknowledge this literally on 'Like a Sail or a Bed': "The weaving grows row by row," she states intentionally over distant, celestial hums. "Stretched on the frame of a loom like a sail or a bed."
Rollo and Tierny's experience allows them to step a few paces back and work in landscape, and their circumspect treatment is never overwhelming. Sewing the sparse blocks of sound together delicately and sensitively, they bring our attention to odd tones and geometries - it makes sense that the project itself is named after visionary German textile artist Anni Albers. And the final gut-punch comes with Funke's sole contribution, a relaxed, homespun folk reverie that balances the album out like a hot drink on a cold night. In its own way, 'The Wind That Had Not Touched Land' is a celebration of A Colourful Storm's euphonious house sound - a compilation record of sorts that's built around mutual appreciation.
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