Albert Karch, Gareth Quinn Redmond
Warszawa
Albert Karch, Gareth Quinn Redmond
Warszawa
Boomkat Product Review:
Solemn keys, soft drums and shimmering electronics haunted by the spectre of Mark Hollis and Japanese environmental ambient figure Satoshi Ashikawa, conjured by ambient artist Redmond and his multi-instrumentalist Polish spar, Karch.
‘Warszawa’ takes equal cues from the long shadow of influence cast by Mark Hollis’ solo work and with Talk Talk, and Ishikawa’s roles as musician and ambient pioneer - highly regarded for the 1982 classic ’Still Way’ - for a quietly ruminative recording that unfolds at the speed of slowed, lucid, late night thought. The six part suite marks the 4th side accredited to Gareth Quinn Redmond on the prolific WRWTFWW Records, who have been instrumental in renewing interest in the type of Japanese environmental ambient music that these artists take to heart, and meld with the melancholy of Hollis in carefully tender style appropriate to their muses.
As it proceeds, they hold the faintest line of presence and hesitant gesture as the fine juxtaposition of wilting keys and low rumbles of percussion give way to ghostly touches of strings in heavy air on ‘Palette’, a heartfelt nod to the passage of Mark Hollis in ‘A Life (1955-2019)’, and likewise their other touchstone in ‘Ashikawa’, while neatly blurring distinctions in the quietly luminescent tones and dusted percussive dabs to ’251536’, that make the titular closer feel positively loud by comparison (it really isn’t), and surehandedly hails the quiet/loud nous of Hollis that would pave the way for post-rock in a way he would likely approve.
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Boomkat Product Review:
Solemn keys, soft drums and shimmering electronics haunted by the spectre of Mark Hollis and Japanese environmental ambient figure Satoshi Ashikawa, conjured by ambient artist Redmond and his multi-instrumentalist Polish spar, Karch.
‘Warszawa’ takes equal cues from the long shadow of influence cast by Mark Hollis’ solo work and with Talk Talk, and Ishikawa’s roles as musician and ambient pioneer - highly regarded for the 1982 classic ’Still Way’ - for a quietly ruminative recording that unfolds at the speed of slowed, lucid, late night thought. The six part suite marks the 4th side accredited to Gareth Quinn Redmond on the prolific WRWTFWW Records, who have been instrumental in renewing interest in the type of Japanese environmental ambient music that these artists take to heart, and meld with the melancholy of Hollis in carefully tender style appropriate to their muses.
As it proceeds, they hold the faintest line of presence and hesitant gesture as the fine juxtaposition of wilting keys and low rumbles of percussion give way to ghostly touches of strings in heavy air on ‘Palette’, a heartfelt nod to the passage of Mark Hollis in ‘A Life (1955-2019)’, and likewise their other touchstone in ‘Ashikawa’, while neatly blurring distinctions in the quietly luminescent tones and dusted percussive dabs to ’251536’, that make the titular closer feel positively loud by comparison (it really isn’t), and surehandedly hails the quiet/loud nous of Hollis that would pave the way for post-rock in a way he would likely approve.
Boomkat Product Review:
Solemn keys, soft drums and shimmering electronics haunted by the spectre of Mark Hollis and Japanese environmental ambient figure Satoshi Ashikawa, conjured by ambient artist Redmond and his multi-instrumentalist Polish spar, Karch.
‘Warszawa’ takes equal cues from the long shadow of influence cast by Mark Hollis’ solo work and with Talk Talk, and Ishikawa’s roles as musician and ambient pioneer - highly regarded for the 1982 classic ’Still Way’ - for a quietly ruminative recording that unfolds at the speed of slowed, lucid, late night thought. The six part suite marks the 4th side accredited to Gareth Quinn Redmond on the prolific WRWTFWW Records, who have been instrumental in renewing interest in the type of Japanese environmental ambient music that these artists take to heart, and meld with the melancholy of Hollis in carefully tender style appropriate to their muses.
As it proceeds, they hold the faintest line of presence and hesitant gesture as the fine juxtaposition of wilting keys and low rumbles of percussion give way to ghostly touches of strings in heavy air on ‘Palette’, a heartfelt nod to the passage of Mark Hollis in ‘A Life (1955-2019)’, and likewise their other touchstone in ‘Ashikawa’, while neatly blurring distinctions in the quietly luminescent tones and dusted percussive dabs to ’251536’, that make the titular closer feel positively loud by comparison (it really isn’t), and surehandedly hails the quiet/loud nous of Hollis that would pave the way for post-rock in a way he would likely approve.
Boomkat Product Review:
Solemn keys, soft drums and shimmering electronics haunted by the spectre of Mark Hollis and Japanese environmental ambient figure Satoshi Ashikawa, conjured by ambient artist Redmond and his multi-instrumentalist Polish spar, Karch.
‘Warszawa’ takes equal cues from the long shadow of influence cast by Mark Hollis’ solo work and with Talk Talk, and Ishikawa’s roles as musician and ambient pioneer - highly regarded for the 1982 classic ’Still Way’ - for a quietly ruminative recording that unfolds at the speed of slowed, lucid, late night thought. The six part suite marks the 4th side accredited to Gareth Quinn Redmond on the prolific WRWTFWW Records, who have been instrumental in renewing interest in the type of Japanese environmental ambient music that these artists take to heart, and meld with the melancholy of Hollis in carefully tender style appropriate to their muses.
As it proceeds, they hold the faintest line of presence and hesitant gesture as the fine juxtaposition of wilting keys and low rumbles of percussion give way to ghostly touches of strings in heavy air on ‘Palette’, a heartfelt nod to the passage of Mark Hollis in ‘A Life (1955-2019)’, and likewise their other touchstone in ‘Ashikawa’, while neatly blurring distinctions in the quietly luminescent tones and dusted percussive dabs to ’251536’, that make the titular closer feel positively loud by comparison (it really isn’t), and surehandedly hails the quiet/loud nous of Hollis that would pave the way for post-rock in a way he would likely approve.
Limited edition of 300, heavyweight sleeve with inside out printing, artist notes & sticker.
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Boomkat Product Review:
Solemn keys, soft drums and shimmering electronics haunted by the spectre of Mark Hollis and Japanese environmental ambient figure Satoshi Ashikawa, conjured by ambient artist Redmond and his multi-instrumentalist Polish spar, Karch.
‘Warszawa’ takes equal cues from the long shadow of influence cast by Mark Hollis’ solo work and with Talk Talk, and Ishikawa’s roles as musician and ambient pioneer - highly regarded for the 1982 classic ’Still Way’ - for a quietly ruminative recording that unfolds at the speed of slowed, lucid, late night thought. The six part suite marks the 4th side accredited to Gareth Quinn Redmond on the prolific WRWTFWW Records, who have been instrumental in renewing interest in the type of Japanese environmental ambient music that these artists take to heart, and meld with the melancholy of Hollis in carefully tender style appropriate to their muses.
As it proceeds, they hold the faintest line of presence and hesitant gesture as the fine juxtaposition of wilting keys and low rumbles of percussion give way to ghostly touches of strings in heavy air on ‘Palette’, a heartfelt nod to the passage of Mark Hollis in ‘A Life (1955-2019)’, and likewise their other touchstone in ‘Ashikawa’, while neatly blurring distinctions in the quietly luminescent tones and dusted percussive dabs to ’251536’, that make the titular closer feel positively loud by comparison (it really isn’t), and surehandedly hails the quiet/loud nous of Hollis that would pave the way for post-rock in a way he would likely approve.
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