DIALECT
Under~Between
Boomkat Product Review:
Harold Budd’s profound influence is absorbed deeply into Dialect’s zen-like debut bouquet for RVNG Intl., marking a very welcome return from the Liverpool-based composer after his 2018 LP on Forest Sword’s Dense Truth
Ever since the release of his 2015 album ‘Gownanus Drift’, and in particular the emotional punishment of its quietly blub-worthy standout ‘Ghost Of Red Hook’, it’s been a real pleasure to keep an ear on the movements of Andrew PM Hunt aka Dialect. His 4th album, ‘Under~Between’ now sees him blossom a gorgeously understated style of electro-acoustic ambient classicism every bit as restrained as it is enchanting, characterising a refined sort of honest emotional intelligence and knack for gently suggestive, ephemeral melody and harmony that speaks to his ongoing interests with Buddhism, and related ideas of interdependence and relativity.
‘Under~Between’ began life as a series of orchestral pieces commissioned for the Immix Ensemble some years back, but somehow the artist has managed to sit on the recordings until now. Their release is effectively the culmination of a long-standing friendship with RVNG Intl., and was prompted by the artist’s reading of ‘Mutual Causality in Buddhism and General Systems Theory’ by Joanna Marcy, whose thoughts on the Buddhist doctrine of Pratītyasamutpāda gave Dialect the nudge needed to give these gorgeous works their wings.
It’s really not hard to hear the influence of Harold Budd’s arch pastoralist touch to the proceedings, but there’s also a vital sense of NYC minimalism, as well as wide skied Liverpudlian wonder, to the 11 works that should be correctly identified as Dialect-ical, and distinctly accented. They unfurl at a conversational pace, bubbling with a friendly energy and fizzing with detailed invention between the poetic title piece and lucid, eastern-inspired tonalities of ‘An Archipelago’, with his animist FM synthesis abilities fully in check on the folksy whims of his ‘Yamaha Birds’ works and the Visible Cloaks-esque ’Stacks’, and while Budd’s evergreen beauty informs the centrepiece of ‘Sentimental, Sedimentary’, and the likes of ‘Feathers Dance’ or ‘Avert Yr Path’ recall the evocatively timeless beauty of Ernest Hood’s ’Neighbourhoods’ as much as Budd’s sublime descriptive skills.
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Boomkat Product Review:
Harold Budd’s profound influence is absorbed deeply into Dialect’s zen-like debut bouquet for RVNG Intl., marking a very welcome return from the Liverpool-based composer after his 2018 LP on Forest Sword’s Dense Truth
Ever since the release of his 2015 album ‘Gownanus Drift’, and in particular the emotional punishment of its quietly blub-worthy standout ‘Ghost Of Red Hook’, it’s been a real pleasure to keep an ear on the movements of Andrew PM Hunt aka Dialect. His 4th album, ‘Under~Between’ now sees him blossom a gorgeously understated style of electro-acoustic ambient classicism every bit as restrained as it is enchanting, characterising a refined sort of honest emotional intelligence and knack for gently suggestive, ephemeral melody and harmony that speaks to his ongoing interests with Buddhism, and related ideas of interdependence and relativity.
‘Under~Between’ began life as a series of orchestral pieces commissioned for the Immix Ensemble some years back, but somehow the artist has managed to sit on the recordings until now. Their release is effectively the culmination of a long-standing friendship with RVNG Intl., and was prompted by the artist’s reading of ‘Mutual Causality in Buddhism and General Systems Theory’ by Joanna Marcy, whose thoughts on the Buddhist doctrine of Pratītyasamutpāda gave Dialect the nudge needed to give these gorgeous works their wings.
It’s really not hard to hear the influence of Harold Budd’s arch pastoralist touch to the proceedings, but there’s also a vital sense of NYC minimalism, as well as wide skied Liverpudlian wonder, to the 11 works that should be correctly identified as Dialect-ical, and distinctly accented. They unfurl at a conversational pace, bubbling with a friendly energy and fizzing with detailed invention between the poetic title piece and lucid, eastern-inspired tonalities of ‘An Archipelago’, with his animist FM synthesis abilities fully in check on the folksy whims of his ‘Yamaha Birds’ works and the Visible Cloaks-esque ’Stacks’, and while Budd’s evergreen beauty informs the centrepiece of ‘Sentimental, Sedimentary’, and the likes of ‘Feathers Dance’ or ‘Avert Yr Path’ recall the evocatively timeless beauty of Ernest Hood’s ’Neighbourhoods’ as much as Budd’s sublime descriptive skills.
Boomkat Product Review:
Harold Budd’s profound influence is absorbed deeply into Dialect’s zen-like debut bouquet for RVNG Intl., marking a very welcome return from the Liverpool-based composer after his 2018 LP on Forest Sword’s Dense Truth
Ever since the release of his 2015 album ‘Gownanus Drift’, and in particular the emotional punishment of its quietly blub-worthy standout ‘Ghost Of Red Hook’, it’s been a real pleasure to keep an ear on the movements of Andrew PM Hunt aka Dialect. His 4th album, ‘Under~Between’ now sees him blossom a gorgeously understated style of electro-acoustic ambient classicism every bit as restrained as it is enchanting, characterising a refined sort of honest emotional intelligence and knack for gently suggestive, ephemeral melody and harmony that speaks to his ongoing interests with Buddhism, and related ideas of interdependence and relativity.
‘Under~Between’ began life as a series of orchestral pieces commissioned for the Immix Ensemble some years back, but somehow the artist has managed to sit on the recordings until now. Their release is effectively the culmination of a long-standing friendship with RVNG Intl., and was prompted by the artist’s reading of ‘Mutual Causality in Buddhism and General Systems Theory’ by Joanna Marcy, whose thoughts on the Buddhist doctrine of Pratītyasamutpāda gave Dialect the nudge needed to give these gorgeous works their wings.
It’s really not hard to hear the influence of Harold Budd’s arch pastoralist touch to the proceedings, but there’s also a vital sense of NYC minimalism, as well as wide skied Liverpudlian wonder, to the 11 works that should be correctly identified as Dialect-ical, and distinctly accented. They unfurl at a conversational pace, bubbling with a friendly energy and fizzing with detailed invention between the poetic title piece and lucid, eastern-inspired tonalities of ‘An Archipelago’, with his animist FM synthesis abilities fully in check on the folksy whims of his ‘Yamaha Birds’ works and the Visible Cloaks-esque ’Stacks’, and while Budd’s evergreen beauty informs the centrepiece of ‘Sentimental, Sedimentary’, and the likes of ‘Feathers Dance’ or ‘Avert Yr Path’ recall the evocatively timeless beauty of Ernest Hood’s ’Neighbourhoods’ as much as Budd’s sublime descriptive skills.
Boomkat Product Review:
Harold Budd’s profound influence is absorbed deeply into Dialect’s zen-like debut bouquet for RVNG Intl., marking a very welcome return from the Liverpool-based composer after his 2018 LP on Forest Sword’s Dense Truth
Ever since the release of his 2015 album ‘Gownanus Drift’, and in particular the emotional punishment of its quietly blub-worthy standout ‘Ghost Of Red Hook’, it’s been a real pleasure to keep an ear on the movements of Andrew PM Hunt aka Dialect. His 4th album, ‘Under~Between’ now sees him blossom a gorgeously understated style of electro-acoustic ambient classicism every bit as restrained as it is enchanting, characterising a refined sort of honest emotional intelligence and knack for gently suggestive, ephemeral melody and harmony that speaks to his ongoing interests with Buddhism, and related ideas of interdependence and relativity.
‘Under~Between’ began life as a series of orchestral pieces commissioned for the Immix Ensemble some years back, but somehow the artist has managed to sit on the recordings until now. Their release is effectively the culmination of a long-standing friendship with RVNG Intl., and was prompted by the artist’s reading of ‘Mutual Causality in Buddhism and General Systems Theory’ by Joanna Marcy, whose thoughts on the Buddhist doctrine of Pratītyasamutpāda gave Dialect the nudge needed to give these gorgeous works their wings.
It’s really not hard to hear the influence of Harold Budd’s arch pastoralist touch to the proceedings, but there’s also a vital sense of NYC minimalism, as well as wide skied Liverpudlian wonder, to the 11 works that should be correctly identified as Dialect-ical, and distinctly accented. They unfurl at a conversational pace, bubbling with a friendly energy and fizzing with detailed invention between the poetic title piece and lucid, eastern-inspired tonalities of ‘An Archipelago’, with his animist FM synthesis abilities fully in check on the folksy whims of his ‘Yamaha Birds’ works and the Visible Cloaks-esque ’Stacks’, and while Budd’s evergreen beauty informs the centrepiece of ‘Sentimental, Sedimentary’, and the likes of ‘Feathers Dance’ or ‘Avert Yr Path’ recall the evocatively timeless beauty of Ernest Hood’s ’Neighbourhoods’ as much as Budd’s sublime descriptive skills.
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Boomkat Product Review:
Harold Budd’s profound influence is absorbed deeply into Dialect’s zen-like debut bouquet for RVNG Intl., marking a very welcome return from the Liverpool-based composer after his 2018 LP on Forest Sword’s Dense Truth
Ever since the release of his 2015 album ‘Gownanus Drift’, and in particular the emotional punishment of its quietly blub-worthy standout ‘Ghost Of Red Hook’, it’s been a real pleasure to keep an ear on the movements of Andrew PM Hunt aka Dialect. His 4th album, ‘Under~Between’ now sees him blossom a gorgeously understated style of electro-acoustic ambient classicism every bit as restrained as it is enchanting, characterising a refined sort of honest emotional intelligence and knack for gently suggestive, ephemeral melody and harmony that speaks to his ongoing interests with Buddhism, and related ideas of interdependence and relativity.
‘Under~Between’ began life as a series of orchestral pieces commissioned for the Immix Ensemble some years back, but somehow the artist has managed to sit on the recordings until now. Their release is effectively the culmination of a long-standing friendship with RVNG Intl., and was prompted by the artist’s reading of ‘Mutual Causality in Buddhism and General Systems Theory’ by Joanna Marcy, whose thoughts on the Buddhist doctrine of Pratītyasamutpāda gave Dialect the nudge needed to give these gorgeous works their wings.
It’s really not hard to hear the influence of Harold Budd’s arch pastoralist touch to the proceedings, but there’s also a vital sense of NYC minimalism, as well as wide skied Liverpudlian wonder, to the 11 works that should be correctly identified as Dialect-ical, and distinctly accented. They unfurl at a conversational pace, bubbling with a friendly energy and fizzing with detailed invention between the poetic title piece and lucid, eastern-inspired tonalities of ‘An Archipelago’, with his animist FM synthesis abilities fully in check on the folksy whims of his ‘Yamaha Birds’ works and the Visible Cloaks-esque ’Stacks’, and while Budd’s evergreen beauty informs the centrepiece of ‘Sentimental, Sedimentary’, and the likes of ‘Feathers Dance’ or ‘Avert Yr Path’ recall the evocatively timeless beauty of Ernest Hood’s ’Neighbourhoods’ as much as Budd’s sublime descriptive skills.
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