Genre: Ambient, Drone
Label: Under The Spire Recordings
My Space
Ekca Liena is the recording alias of Daniel WJ Mackenzie, who recorded this album "in a lifeboat bedroom in Brighton, April 2009". I have no idea what a "lifeboat bedroom" is, but i'd like to think it involved a novelty, nautical bed with 'RNLI' emblazoned across it, much in the same spirit as one of those Formula One-themed bedrooms where small boys get their snooze on in a bed that looks like a car. Getting back to matters at hand, Drones Between Homes is a record of two halves: 'The More I Cut From One' and 'The More I Add To Another', the sort of titles you might find on a Hafler Trio record. Musically, this has more in common with the kind of sleepy tones you'd find on one of Kranky's more sedated releases, pouring bitcrushed electronic signals into the same melting pot as processed guitars and subdued atmospheric recording fragments. The second piece is especially good, featuring an escalating sense of drama thanks to an all-consuming minor chord that gradually accumulates power across the final third, before dissipating away via a linear downwards slope. A rather mysterious, ever so slightly traumatic example of the drone genre, this album is a peculiar thing but certainly worth spending some time with.
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Label: Under The Spire Recordings
My Space
Ekca Liena is the recording alias of Daniel WJ Mackenzie, who recorded this album "in a lifeboat bedroom in Brighton, April 2009". I have no idea what a "lifeboat bedroom" is, but i'd like to think it involved a novelty, nautical bed with 'RNLI' emblazoned across it, much in the same spirit as one of those Formula One-themed bedrooms where small boys get their snooze on in a bed that looks like a car. Getting back to matters at hand, Drones Between Homes is a record of two halves: 'The More I Cut From One' and 'The More I Add To Another', the sort of titles you might find on a Hafler Trio record. Musically, this has more in common with the kind of sleepy tones you'd find on one of Kranky's more sedated releases, pouring bitcrushed electronic signals into the same melting pot as processed guitars and subdued atmospheric recording fragments. The second piece is especially good, featuring an escalating sense of drama thanks to an all-consuming minor chord that gradually accumulates power across the final third, before dissipating away via a linear downwards slope. A rather mysterious, ever so slightly traumatic example of the drone genre, this album is a peculiar thing but certainly worth spending some time with.
Sold Out
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