Whistle from Above
Grubbs' first Drag City release in over a decade, 'Whistle From Above' is a set of gorgeous, minimalist instrumentals (and a conspicuous concrète experiment) with contributions from Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
We can thank the Gastr Del Sol 'We Have Dozens of Titles' anthology for helping this one materialize. Grubbs had already been locked away in a period of "enforced woodshedding", writing a set of new solo pieces, when reconnecting with the archival tracks he'd made with Jim O'Rourke reminded him how much he enjoyed head-to-head collaboration. So he called up some of his favorite musicians, and let their creativity bring 'Whistle From Above' into existence.
Andrea Belfi brings some percussive energy to 'The Snake on its Tail', leveling out Grubbs' unmistakable distorted strums with scene-stealing rolls and metallic hisses that vanish into Grubbs' amp-burn'd riffs. And Rhodri Davies' harp is the perfect foil for Grubbs' slo-mo piano on the graceful 'Hung in the Sky of the Mind'. But we're most impressed with 'Later in the Tapestry Room', three and a half minutes of spliced-together studio improvisations and modular splatter, and the lyrically blown-out closer 'Synchro Fade Pluck Stutter Slip'.
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Grubbs' first Drag City release in over a decade, 'Whistle From Above' is a set of gorgeous, minimalist instrumentals (and a conspicuous concrète experiment) with contributions from Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
We can thank the Gastr Del Sol 'We Have Dozens of Titles' anthology for helping this one materialize. Grubbs had already been locked away in a period of "enforced woodshedding", writing a set of new solo pieces, when reconnecting with the archival tracks he'd made with Jim O'Rourke reminded him how much he enjoyed head-to-head collaboration. So he called up some of his favorite musicians, and let their creativity bring 'Whistle From Above' into existence.
Andrea Belfi brings some percussive energy to 'The Snake on its Tail', leveling out Grubbs' unmistakable distorted strums with scene-stealing rolls and metallic hisses that vanish into Grubbs' amp-burn'd riffs. And Rhodri Davies' harp is the perfect foil for Grubbs' slo-mo piano on the graceful 'Hung in the Sky of the Mind'. But we're most impressed with 'Later in the Tapestry Room', three and a half minutes of spliced-together studio improvisations and modular splatter, and the lyrically blown-out closer 'Synchro Fade Pluck Stutter Slip'.
Grubbs' first Drag City release in over a decade, 'Whistle From Above' is a set of gorgeous, minimalist instrumentals (and a conspicuous concrète experiment) with contributions from Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
We can thank the Gastr Del Sol 'We Have Dozens of Titles' anthology for helping this one materialize. Grubbs had already been locked away in a period of "enforced woodshedding", writing a set of new solo pieces, when reconnecting with the archival tracks he'd made with Jim O'Rourke reminded him how much he enjoyed head-to-head collaboration. So he called up some of his favorite musicians, and let their creativity bring 'Whistle From Above' into existence.
Andrea Belfi brings some percussive energy to 'The Snake on its Tail', leveling out Grubbs' unmistakable distorted strums with scene-stealing rolls and metallic hisses that vanish into Grubbs' amp-burn'd riffs. And Rhodri Davies' harp is the perfect foil for Grubbs' slo-mo piano on the graceful 'Hung in the Sky of the Mind'. But we're most impressed with 'Later in the Tapestry Room', three and a half minutes of spliced-together studio improvisations and modular splatter, and the lyrically blown-out closer 'Synchro Fade Pluck Stutter Slip'.
Grubbs' first Drag City release in over a decade, 'Whistle From Above' is a set of gorgeous, minimalist instrumentals (and a conspicuous concrète experiment) with contributions from Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
We can thank the Gastr Del Sol 'We Have Dozens of Titles' anthology for helping this one materialize. Grubbs had already been locked away in a period of "enforced woodshedding", writing a set of new solo pieces, when reconnecting with the archival tracks he'd made with Jim O'Rourke reminded him how much he enjoyed head-to-head collaboration. So he called up some of his favorite musicians, and let their creativity bring 'Whistle From Above' into existence.
Andrea Belfi brings some percussive energy to 'The Snake on its Tail', leveling out Grubbs' unmistakable distorted strums with scene-stealing rolls and metallic hisses that vanish into Grubbs' amp-burn'd riffs. And Rhodri Davies' harp is the perfect foil for Grubbs' slo-mo piano on the graceful 'Hung in the Sky of the Mind'. But we're most impressed with 'Later in the Tapestry Room', three and a half minutes of spliced-together studio improvisations and modular splatter, and the lyrically blown-out closer 'Synchro Fade Pluck Stutter Slip'.
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Grubbs' first Drag City release in over a decade, 'Whistle From Above' is a set of gorgeous, minimalist instrumentals (and a conspicuous concrète experiment) with contributions from Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
We can thank the Gastr Del Sol 'We Have Dozens of Titles' anthology for helping this one materialize. Grubbs had already been locked away in a period of "enforced woodshedding", writing a set of new solo pieces, when reconnecting with the archival tracks he'd made with Jim O'Rourke reminded him how much he enjoyed head-to-head collaboration. So he called up some of his favorite musicians, and let their creativity bring 'Whistle From Above' into existence.
Andrea Belfi brings some percussive energy to 'The Snake on its Tail', leveling out Grubbs' unmistakable distorted strums with scene-stealing rolls and metallic hisses that vanish into Grubbs' amp-burn'd riffs. And Rhodri Davies' harp is the perfect foil for Grubbs' slo-mo piano on the graceful 'Hung in the Sky of the Mind'. But we're most impressed with 'Later in the Tapestry Room', three and a half minutes of spliced-together studio improvisations and modular splatter, and the lyrically blown-out closer 'Synchro Fade Pluck Stutter Slip'.