UCC Harlo
United
Boomkat Product Review:
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
View more
Boomkat Product Review:
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
Boomkat Product Review:
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
Boomkat Product Review:
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
Back in stock.
Available To Order (Estimated Shipping between 1-3 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
Boomkat Product Review:
‘United’ is the incredible, ambiguous solo debut of medieval and electronic music hybrids by classically trained viola player Annie Garlid as UCC Harlo. To us it sounds like a baroque take on Arthur Russell's 'World Of Echo' treated with choral riffs.
One of the most striking debuts we've heard recently, ‘United’ introduces a patently gifted composer blossoming after many years playing on other people’s records, from early music ensembles to contemporaries such as Bill Kouligas, Caterina Barbieri and Holly Herndon. In her first solo LP Garlid reconciles these opposing poles of her work without making any concessions to her art, rendering a stellar set that ties up medieval baroque, deconstructed dance music, vaulted kosmische and hauntological ambient-pop in a measured, stately and quietly breathtaking style.
Recorded over six years in Germany, the album started as sketches made during train commutes to work in a Cologne orchestra, and was later finished in Berlin. Across its 8 tracks, Garlid weaves complex contexts into beautifully refined compositions with a preternatural patience and timeless grace that’s anything but difficult to grasp for listeners with little to no knowledge of early and classical music modes.
It’s rare to hear such a diverse yet coherent collection executed quite like ‘United’. From the opening swell of viola, mixed with trickling field recordings, synth, and Garlid’s etheric vox in ‘Ceres’, it’s clear that this is a special record, a fact only reinforced as it unfolds between the subtly daring, detached treatment of J.S. Bach in ‘Bach Gamba F*ucked’, and the celestial vectors of ‘Palimpsest/Too Near’, before the gently pendulous rhythm of ‘Lyricisty of Panic’ begins to pull influence from Baroque, as much as traditional African music and Berlin kosmiche, and ambient arabesque of ‘The Secret Lives of Plankton’ extends into lush synth zones recalling Laurie Spiegel’s ‘Unseen Worlds’.
The other side only gets more intriguing, chiming in with the synthetic serenity of Maggi Payne’s ‘Crystal’ in the floating ambience of ‘June 29th (The Third Space)’, and puckering our nerves with the bittersweet intonation of ’Sumite karissimi’, her synth version of a 14th C. work by Magister Zacharias, whilst ‘Queen Anne’s Lace’ drifts from choral meditation to flanged church bells with a surreal, waking dream quality, and the pulsing arps of her remarkable ‘Áve Giove’ brings the Lorenzo Senni inspiration into tangible focus, yet with that elusive, ambiguously oneiric quality that makes the whole album so subtly transfixing.
More from Subtext:
-
FREE MP3 WITH VINYLEllen Arkbro CHORDS Subtext Modern Classical / Ambient- MP3
- FLAC
- WAV
- LP
- CD
-
FREE MP3 WITH VINYLJoshua Sabin Sutarti Subtext Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP
-
FREE MP3 WITH VINYLEllen Arkbro For Organ and Brass Subtext Modern Classical / Ambient
- MP3
- FLAC
- WAV
- LP
- CD
-
FREE MP3 WITH VINYLGonçalo Penas Ego De Espinhos Subtext Electronic
- MP3
- FLAC
- WAV
- LP
-
FREE MP3 WITH VINYLJames Ginzburg Six Correlations Subtext Electronic
- MP3
- FLAC
- WAV
- LP
People who bought this also bought:
-
ADR Throat PAN Electronic
- MP3
- FLAC
- WAV
-
FREE MP3 WITH VINYLPendant Make Me Know You Sweet (2018 Special Edition) West Mineral Electronic
- Exclusive Colour 2LP
-
FREE MP3 WITH VINYLChristoph De Babalon If You're Into It, I'm Out Of It (2018 Special Edition) Cross Fade Enter Tainment [CFET] Electronic
- MP3
- FLAC
- WAV
- Exclusive Colour 2LP
-
FREE MP3 WITH VINYLP.Adrix Álbum Desconhecido (2018 Special Edition) Príncipe Electronic
- MP3
- FLAC
- WAV
- LP
-
FREE MP3 WITH VINYLLucy Railton Paradise 94 Modern Love Modern Classical / Ambient
- MP3
- FLAC
- WAV
- Exclusive Colour LP
-
FREE MP3 WITH VINYLDual Action Babe Beer Bar Car Hospital Productions Electronic
- MP3
- FLAC
- WAV
- Colour 2LP
- 2LP
-
FREE MP3 WITH VINYLChaines The King Slip Electronic
- MP3
- FLAC
- WAV
- LP
- Colour LP
-
FREE MP3 WITH VINYLEartheater IRISIRI PAN Electronic
- MP3
- FLAC
- WAV
- LP
- CD
-
FREE MP3 WITH VINYLGabor Lazar Unfold The Death Of Rave Electronic
- MP3
- FLAC
- WAV
- Colour 2LP
- 2LP
-
FREE MP3 WITH VINYLAlex Zhang Hungtai Divine Weight (2018 Special Edition) NON Worldwide Electronic
- MP3
- FLAC
- WAV
- Exclusive Colour LP