These Charms May Be Sung Over A Wound
RICHARD SKELTON
These Charms May Be Sung Over A Wound
Boomkat Product Review:
Richard Skelton's latest transmission finds the reclusive artist ditching the mournful string drones of his last run of releases and embracing chilly, distorted electronics that should appeal to anyone into Yellow Swans, Alessandro Cortini, Johann Johannsson or Ryuichi Sakamoto's "Async".
It's hard to believe it's been almost a decade since Skelton's last vinyl release. "These Charms May Be Sung Over A Wound" follows a slew of regular drops on Skelton's own Aeolian imprint and moves in a decidedly fresh direction, ditching the acoustic instrumentation that has grounded the majority of his catalog. His last few releases (notably "LASTGLACIALMAXIMUM" and "The Oracle Bone") have explored darker sonic spaces, but have continued his obsession with bowed string drones, muddying them with eerie distortion and field recordings. Here though, Skelton has both feet fully in the electronic realm, layering overdriven synth tones to offer a sensitive, evocative foil to Lawrence English or Ben Frost's grandstanding "power ambient".
The ambience is powerful, certainly, but that strength emerges from the emotional content and the mere suggestion of gravitas. Without acoustic instrumentation, his familiar signature is a ghost that materializes in amongst analog sizzles and thick, oscillating bass tones. Waves of white noise and the occasional doomed hit of a kick drum echoes Yellow Swans' towering masterpiece "Going Places", but Skelton's vision is sparser and more anxious, distant and heavy.
Based in the valleys of the Scottish borders, Skelton translates his relative isolation from contemporary society into soundscapes that are almost futuristic, but lack the clutter of deconstructed club or awkward posturing of concept-heavy festival drone. His idea of the future sounds closer to Russian filmmaker Andrei Tarkovsky's visionary "Stalker" - seemingly out of time and out of place, with an eerie sense that the rapidly-shifting realty of the present is even more precarious than we care to realize.
"These Charms May Be Sung Over A Wound" feels like a potent reflection on a time of global isolation, societal collapse and the confusion of many potential futures, but chooses not to weigh us down with any kind of assertion. Rather, we are invited to project our own anxieties onto the album's groaning dreamworld.
View more
Boomkat Product Review:
Richard Skelton's latest transmission finds the reclusive artist ditching the mournful string drones of his last run of releases and embracing chilly, distorted electronics that should appeal to anyone into Yellow Swans, Alessandro Cortini, Johann Johannsson or Ryuichi Sakamoto's "Async".
It's hard to believe it's been almost a decade since Skelton's last vinyl release. "These Charms May Be Sung Over A Wound" follows a slew of regular drops on Skelton's own Aeolian imprint and moves in a decidedly fresh direction, ditching the acoustic instrumentation that has grounded the majority of his catalog. His last few releases (notably "LASTGLACIALMAXIMUM" and "The Oracle Bone") have explored darker sonic spaces, but have continued his obsession with bowed string drones, muddying them with eerie distortion and field recordings. Here though, Skelton has both feet fully in the electronic realm, layering overdriven synth tones to offer a sensitive, evocative foil to Lawrence English or Ben Frost's grandstanding "power ambient".
The ambience is powerful, certainly, but that strength emerges from the emotional content and the mere suggestion of gravitas. Without acoustic instrumentation, his familiar signature is a ghost that materializes in amongst analog sizzles and thick, oscillating bass tones. Waves of white noise and the occasional doomed hit of a kick drum echoes Yellow Swans' towering masterpiece "Going Places", but Skelton's vision is sparser and more anxious, distant and heavy.
Based in the valleys of the Scottish borders, Skelton translates his relative isolation from contemporary society into soundscapes that are almost futuristic, but lack the clutter of deconstructed club or awkward posturing of concept-heavy festival drone. His idea of the future sounds closer to Russian filmmaker Andrei Tarkovsky's visionary "Stalker" - seemingly out of time and out of place, with an eerie sense that the rapidly-shifting realty of the present is even more precarious than we care to realize.
"These Charms May Be Sung Over A Wound" feels like a potent reflection on a time of global isolation, societal collapse and the confusion of many potential futures, but chooses not to weigh us down with any kind of assertion. Rather, we are invited to project our own anxieties onto the album's groaning dreamworld.
Boomkat Product Review:
Richard Skelton's latest transmission finds the reclusive artist ditching the mournful string drones of his last run of releases and embracing chilly, distorted electronics that should appeal to anyone into Yellow Swans, Alessandro Cortini, Johann Johannsson or Ryuichi Sakamoto's "Async".
It's hard to believe it's been almost a decade since Skelton's last vinyl release. "These Charms May Be Sung Over A Wound" follows a slew of regular drops on Skelton's own Aeolian imprint and moves in a decidedly fresh direction, ditching the acoustic instrumentation that has grounded the majority of his catalog. His last few releases (notably "LASTGLACIALMAXIMUM" and "The Oracle Bone") have explored darker sonic spaces, but have continued his obsession with bowed string drones, muddying them with eerie distortion and field recordings. Here though, Skelton has both feet fully in the electronic realm, layering overdriven synth tones to offer a sensitive, evocative foil to Lawrence English or Ben Frost's grandstanding "power ambient".
The ambience is powerful, certainly, but that strength emerges from the emotional content and the mere suggestion of gravitas. Without acoustic instrumentation, his familiar signature is a ghost that materializes in amongst analog sizzles and thick, oscillating bass tones. Waves of white noise and the occasional doomed hit of a kick drum echoes Yellow Swans' towering masterpiece "Going Places", but Skelton's vision is sparser and more anxious, distant and heavy.
Based in the valleys of the Scottish borders, Skelton translates his relative isolation from contemporary society into soundscapes that are almost futuristic, but lack the clutter of deconstructed club or awkward posturing of concept-heavy festival drone. His idea of the future sounds closer to Russian filmmaker Andrei Tarkovsky's visionary "Stalker" - seemingly out of time and out of place, with an eerie sense that the rapidly-shifting realty of the present is even more precarious than we care to realize.
"These Charms May Be Sung Over A Wound" feels like a potent reflection on a time of global isolation, societal collapse and the confusion of many potential futures, but chooses not to weigh us down with any kind of assertion. Rather, we are invited to project our own anxieties onto the album's groaning dreamworld.
Boomkat Product Review:
Richard Skelton's latest transmission finds the reclusive artist ditching the mournful string drones of his last run of releases and embracing chilly, distorted electronics that should appeal to anyone into Yellow Swans, Alessandro Cortini, Johann Johannsson or Ryuichi Sakamoto's "Async".
It's hard to believe it's been almost a decade since Skelton's last vinyl release. "These Charms May Be Sung Over A Wound" follows a slew of regular drops on Skelton's own Aeolian imprint and moves in a decidedly fresh direction, ditching the acoustic instrumentation that has grounded the majority of his catalog. His last few releases (notably "LASTGLACIALMAXIMUM" and "The Oracle Bone") have explored darker sonic spaces, but have continued his obsession with bowed string drones, muddying them with eerie distortion and field recordings. Here though, Skelton has both feet fully in the electronic realm, layering overdriven synth tones to offer a sensitive, evocative foil to Lawrence English or Ben Frost's grandstanding "power ambient".
The ambience is powerful, certainly, but that strength emerges from the emotional content and the mere suggestion of gravitas. Without acoustic instrumentation, his familiar signature is a ghost that materializes in amongst analog sizzles and thick, oscillating bass tones. Waves of white noise and the occasional doomed hit of a kick drum echoes Yellow Swans' towering masterpiece "Going Places", but Skelton's vision is sparser and more anxious, distant and heavy.
Based in the valleys of the Scottish borders, Skelton translates his relative isolation from contemporary society into soundscapes that are almost futuristic, but lack the clutter of deconstructed club or awkward posturing of concept-heavy festival drone. His idea of the future sounds closer to Russian filmmaker Andrei Tarkovsky's visionary "Stalker" - seemingly out of time and out of place, with an eerie sense that the rapidly-shifting realty of the present is even more precarious than we care to realize.
"These Charms May Be Sung Over A Wound" feels like a potent reflection on a time of global isolation, societal collapse and the confusion of many potential futures, but chooses not to weigh us down with any kind of assertion. Rather, we are invited to project our own anxieties onto the album's groaning dreamworld.
Back in stock.
Out of Stock
Boomkat Product Review:
Richard Skelton's latest transmission finds the reclusive artist ditching the mournful string drones of his last run of releases and embracing chilly, distorted electronics that should appeal to anyone into Yellow Swans, Alessandro Cortini, Johann Johannsson or Ryuichi Sakamoto's "Async".
It's hard to believe it's been almost a decade since Skelton's last vinyl release. "These Charms May Be Sung Over A Wound" follows a slew of regular drops on Skelton's own Aeolian imprint and moves in a decidedly fresh direction, ditching the acoustic instrumentation that has grounded the majority of his catalog. His last few releases (notably "LASTGLACIALMAXIMUM" and "The Oracle Bone") have explored darker sonic spaces, but have continued his obsession with bowed string drones, muddying them with eerie distortion and field recordings. Here though, Skelton has both feet fully in the electronic realm, layering overdriven synth tones to offer a sensitive, evocative foil to Lawrence English or Ben Frost's grandstanding "power ambient".
The ambience is powerful, certainly, but that strength emerges from the emotional content and the mere suggestion of gravitas. Without acoustic instrumentation, his familiar signature is a ghost that materializes in amongst analog sizzles and thick, oscillating bass tones. Waves of white noise and the occasional doomed hit of a kick drum echoes Yellow Swans' towering masterpiece "Going Places", but Skelton's vision is sparser and more anxious, distant and heavy.
Based in the valleys of the Scottish borders, Skelton translates his relative isolation from contemporary society into soundscapes that are almost futuristic, but lack the clutter of deconstructed club or awkward posturing of concept-heavy festival drone. His idea of the future sounds closer to Russian filmmaker Andrei Tarkovsky's visionary "Stalker" - seemingly out of time and out of place, with an eerie sense that the rapidly-shifting realty of the present is even more precarious than we care to realize.
"These Charms May Be Sung Over A Wound" feels like a potent reflection on a time of global isolation, societal collapse and the confusion of many potential futures, but chooses not to weigh us down with any kind of assertion. Rather, we are invited to project our own anxieties onto the album's groaning dreamworld.
More from RICHARD SKELTON:
-
RICHARD SKELTON Four Workings CORBEL STONE PRESS Modern Classical / Ambient- MP3
- FLAC
- WAV
-
RICHARD SKELTON Four CORBEL STONE PRESS Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
RICHARD SKELTON Lastglacialmaximum CORBEL STONE PRESS Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLRICHARD SKELTON Border Ballads CORBEL STONE PRESS Modern Classical / Ambient
- MP3
- FLAC
- WAV
- CD
-
RICHARD SKELTON Towards a Frontier CORBEL STONE PRESS Modern Classical / Ambient
- MP3
- FLAC
- WAV
More from PHANTOM LIMB:
-
Paul Schütze The Second Law PHANTOM LIMB Modern Classical / Ambient
- Colour LP
-
FREE MP3 WITH VINYLKevin Richard Martin Return to Solaris PHANTOM LIMB Dark Ambient / Drone / Metal
- MP3
- FLAC
- WAV
- 2LP (Black Vinyl)
-
Brady Cohan featuring Sam Gendel Studies, Vol. 2 PHANTOM LIMB Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
Dau Zed Zed PHANTOM LIMB Modern Classical / Ambient
- MP3
- FLAC
- WAV
-
Imaginal Soundtracking Imaginal Soundtracking Vol. 2: The Demon PHANTOM LIMB Early Electronic / Soundtracks
- MP3
- FLAC
- WAV
People who bought this also bought:
-
Burial Rival Dealer Hyperdub Electronic
- MP3
- FLAC
- WAV
- 12"
-
Burial Truant / Rough Sleeper Hyperdub Electronic
- MP3
- FLAC
- WAV
- 12"
-
Roly Porter Third Law Tri Angle Records Electronic
- MP3
- FLAC
- WAV
- 2LP
- CD
-
FREE MP3 WITH VINYLKara-Lis Coverdale Grafts Boomkat Editions Electronic
- MP3
- FLAC
- WAV
- LP
-
Susumu Yokota Acid Mt.Fuji Midgar Electronic
- Colour 2LP
-
FREE MP3 WITH VINYLTHE CARETAKER Everywhere At The End Of Time Stages 4-6 (4CD Set) History Always Favours The Winners Electronic
- MP3
- FLAC
- WAV
- Deluxe 4CD Set
-
FREE MP3 WITH VINYLCaterina Barbieri Ecstatic Computation Editions Mego Electronic
- MP3
- FLAC
- WAV
- LP
-
FREE MP3 WITH VINYLFelicia Atkinson The Flower And The Vessel Shelter Press Electronic
- MP3
- FLAC
- WAV
- 2LP
- CD
-
FREE MP3 WITH VINYLBeatrice Dillon Workaround PAN Electronic
- MP3
- FLAC
- WAV
- LP
-
FREE MP3 WITH VINYLRegis Hidden In This Is The Light That You Miss Downwards Electronic
- MP3
- FLAC
- WAV
- 2LP