Tollard
William Yates impresses with his Trilogy Tapes debut, following crucial records for Sähkö and his own memorecs with an ambitious album-length sprawl of tempered, dusky jazz, beyond-the-pier eccentricity and par-boiled, quietly seductive psychedelic ambience. One for fans of Elodie, Tenniscoats, Joanna Brouk, Sakamoto, Corker Conboy.
Yates follows last year’s brilliant, self-titled Sähkö EP and the sublime 'How Was Your Life?', an album we described as "fantasy exotica”, with 'Tollard', using delicate, late-night jazz sequences to set the mood before discreet lysergic processes and asymmetric, pastoral songs swirl into the mix.
Yeah it’s all over the place but completely easy-on-the-ear: 'Laughing Grass' teases ambience from bluegrass, and 'Rain Bells' gives it a bit of Joanna Brouk, using FM bells and gentle drones to paint a hypnotic, informal sketch. The shadow of electrified prog hangs over the lengthy 'In the Lark's Next', sounding like Vangelis or early Genesis as it weaves an arpeggiated synth through fanfare blasts and hand drums, and on 'Door to the Sky', Yates reflects the cheerful, ramshackle sincerity of Japan's beloved Tenniscoats with a casual stumble of toy instruments, banjo, strings and shortwave static.
Yates cut his teeth making obsessively engineered bass music alongside local peers like Batu, and while there's little of that aesthetic left, the attention to detail is palpable. His voice cracks over blown-out, screwed drums on the elegiac 'Funny to Stay the Same’, reminding us of another West Country legend: Matt Elliott, aka Third Eye Foundation. On 'Polly's Palace' he subverts bombastic, pompous leads with chiming keys and cool-headed guitar licks, and by the time we hit the finale 'Munday's Pond' we're in free improv territory, led thru the murk by strings that evolve from chaos into bliss.
While jazz parameters keeps the album loosely grounded, Yates spies a world of music around him that can't be boxed in, and even though it all feels completely shot from the hip, there’s no mistaking the levels of ambition and skill on display.
Perfect springtime listening.
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William Yates impresses with his Trilogy Tapes debut, following crucial records for Sähkö and his own memorecs with an ambitious album-length sprawl of tempered, dusky jazz, beyond-the-pier eccentricity and par-boiled, quietly seductive psychedelic ambience. One for fans of Elodie, Tenniscoats, Joanna Brouk, Sakamoto, Corker Conboy.
Yates follows last year’s brilliant, self-titled Sähkö EP and the sublime 'How Was Your Life?', an album we described as "fantasy exotica”, with 'Tollard', using delicate, late-night jazz sequences to set the mood before discreet lysergic processes and asymmetric, pastoral songs swirl into the mix.
Yeah it’s all over the place but completely easy-on-the-ear: 'Laughing Grass' teases ambience from bluegrass, and 'Rain Bells' gives it a bit of Joanna Brouk, using FM bells and gentle drones to paint a hypnotic, informal sketch. The shadow of electrified prog hangs over the lengthy 'In the Lark's Next', sounding like Vangelis or early Genesis as it weaves an arpeggiated synth through fanfare blasts and hand drums, and on 'Door to the Sky', Yates reflects the cheerful, ramshackle sincerity of Japan's beloved Tenniscoats with a casual stumble of toy instruments, banjo, strings and shortwave static.
Yates cut his teeth making obsessively engineered bass music alongside local peers like Batu, and while there's little of that aesthetic left, the attention to detail is palpable. His voice cracks over blown-out, screwed drums on the elegiac 'Funny to Stay the Same’, reminding us of another West Country legend: Matt Elliott, aka Third Eye Foundation. On 'Polly's Palace' he subverts bombastic, pompous leads with chiming keys and cool-headed guitar licks, and by the time we hit the finale 'Munday's Pond' we're in free improv territory, led thru the murk by strings that evolve from chaos into bliss.
While jazz parameters keeps the album loosely grounded, Yates spies a world of music around him that can't be boxed in, and even though it all feels completely shot from the hip, there’s no mistaking the levels of ambition and skill on display.
Perfect springtime listening.
William Yates impresses with his Trilogy Tapes debut, following crucial records for Sähkö and his own memorecs with an ambitious album-length sprawl of tempered, dusky jazz, beyond-the-pier eccentricity and par-boiled, quietly seductive psychedelic ambience. One for fans of Elodie, Tenniscoats, Joanna Brouk, Sakamoto, Corker Conboy.
Yates follows last year’s brilliant, self-titled Sähkö EP and the sublime 'How Was Your Life?', an album we described as "fantasy exotica”, with 'Tollard', using delicate, late-night jazz sequences to set the mood before discreet lysergic processes and asymmetric, pastoral songs swirl into the mix.
Yeah it’s all over the place but completely easy-on-the-ear: 'Laughing Grass' teases ambience from bluegrass, and 'Rain Bells' gives it a bit of Joanna Brouk, using FM bells and gentle drones to paint a hypnotic, informal sketch. The shadow of electrified prog hangs over the lengthy 'In the Lark's Next', sounding like Vangelis or early Genesis as it weaves an arpeggiated synth through fanfare blasts and hand drums, and on 'Door to the Sky', Yates reflects the cheerful, ramshackle sincerity of Japan's beloved Tenniscoats with a casual stumble of toy instruments, banjo, strings and shortwave static.
Yates cut his teeth making obsessively engineered bass music alongside local peers like Batu, and while there's little of that aesthetic left, the attention to detail is palpable. His voice cracks over blown-out, screwed drums on the elegiac 'Funny to Stay the Same’, reminding us of another West Country legend: Matt Elliott, aka Third Eye Foundation. On 'Polly's Palace' he subverts bombastic, pompous leads with chiming keys and cool-headed guitar licks, and by the time we hit the finale 'Munday's Pond' we're in free improv territory, led thru the murk by strings that evolve from chaos into bliss.
While jazz parameters keeps the album loosely grounded, Yates spies a world of music around him that can't be boxed in, and even though it all feels completely shot from the hip, there’s no mistaking the levels of ambition and skill on display.
Perfect springtime listening.
William Yates impresses with his Trilogy Tapes debut, following crucial records for Sähkö and his own memorecs with an ambitious album-length sprawl of tempered, dusky jazz, beyond-the-pier eccentricity and par-boiled, quietly seductive psychedelic ambience. One for fans of Elodie, Tenniscoats, Joanna Brouk, Sakamoto, Corker Conboy.
Yates follows last year’s brilliant, self-titled Sähkö EP and the sublime 'How Was Your Life?', an album we described as "fantasy exotica”, with 'Tollard', using delicate, late-night jazz sequences to set the mood before discreet lysergic processes and asymmetric, pastoral songs swirl into the mix.
Yeah it’s all over the place but completely easy-on-the-ear: 'Laughing Grass' teases ambience from bluegrass, and 'Rain Bells' gives it a bit of Joanna Brouk, using FM bells and gentle drones to paint a hypnotic, informal sketch. The shadow of electrified prog hangs over the lengthy 'In the Lark's Next', sounding like Vangelis or early Genesis as it weaves an arpeggiated synth through fanfare blasts and hand drums, and on 'Door to the Sky', Yates reflects the cheerful, ramshackle sincerity of Japan's beloved Tenniscoats with a casual stumble of toy instruments, banjo, strings and shortwave static.
Yates cut his teeth making obsessively engineered bass music alongside local peers like Batu, and while there's little of that aesthetic left, the attention to detail is palpable. His voice cracks over blown-out, screwed drums on the elegiac 'Funny to Stay the Same’, reminding us of another West Country legend: Matt Elliott, aka Third Eye Foundation. On 'Polly's Palace' he subverts bombastic, pompous leads with chiming keys and cool-headed guitar licks, and by the time we hit the finale 'Munday's Pond' we're in free improv territory, led thru the murk by strings that evolve from chaos into bliss.
While jazz parameters keeps the album loosely grounded, Yates spies a world of music around him that can't be boxed in, and even though it all feels completely shot from the hip, there’s no mistaking the levels of ambition and skill on display.
Perfect springtime listening.
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William Yates impresses with his Trilogy Tapes debut, following crucial records for Sähkö and his own memorecs with an ambitious album-length sprawl of tempered, dusky jazz, beyond-the-pier eccentricity and par-boiled, quietly seductive psychedelic ambience. One for fans of Elodie, Tenniscoats, Joanna Brouk, Sakamoto, Corker Conboy.
Yates follows last year’s brilliant, self-titled Sähkö EP and the sublime 'How Was Your Life?', an album we described as "fantasy exotica”, with 'Tollard', using delicate, late-night jazz sequences to set the mood before discreet lysergic processes and asymmetric, pastoral songs swirl into the mix.
Yeah it’s all over the place but completely easy-on-the-ear: 'Laughing Grass' teases ambience from bluegrass, and 'Rain Bells' gives it a bit of Joanna Brouk, using FM bells and gentle drones to paint a hypnotic, informal sketch. The shadow of electrified prog hangs over the lengthy 'In the Lark's Next', sounding like Vangelis or early Genesis as it weaves an arpeggiated synth through fanfare blasts and hand drums, and on 'Door to the Sky', Yates reflects the cheerful, ramshackle sincerity of Japan's beloved Tenniscoats with a casual stumble of toy instruments, banjo, strings and shortwave static.
Yates cut his teeth making obsessively engineered bass music alongside local peers like Batu, and while there's little of that aesthetic left, the attention to detail is palpable. His voice cracks over blown-out, screwed drums on the elegiac 'Funny to Stay the Same’, reminding us of another West Country legend: Matt Elliott, aka Third Eye Foundation. On 'Polly's Palace' he subverts bombastic, pompous leads with chiming keys and cool-headed guitar licks, and by the time we hit the finale 'Munday's Pond' we're in free improv territory, led thru the murk by strings that evolve from chaos into bliss.
While jazz parameters keeps the album loosely grounded, Yates spies a world of music around him that can't be boxed in, and even though it all feels completely shot from the hip, there’s no mistaking the levels of ambition and skill on display.
Perfect springtime listening.