Over the past sixteen years seminal British experimental musician Richard Skelton has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. This stunning new album is Skelton's first on vinyl in over a decade, and a standout record in his own catalogue. 'These Charms May Be Sung Over A Wound', has Skelton abandoning acoustic instrumentation to map out a new territory of buzzing sine tones and square waves, immersed in shimmering clouds of distortion and suspended over landscapes of thrumming bass. The result is a new and transcendental experience: while the key themes of Skelton's music remain - stark and lonely geographies, ancient myths buried deep within the land, slow-moving glacial evolution - we are transported to a darker and more mechanical place. The intensity and sound design here are more akin to quasi-industrial, abandoned-factory sonics than to earthy, organic tones of earlier Richard Skelton albums. Abul Mogard and Alessandro Cortini could be considered peers now, just as much as Eno and Basinski had been before.
Over the past sixteen years seminal British experimental musician Richard Skelton has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. This stunning new album is Skelton's first on vinyl in over a decade, and a standout record in his own catalogue. 'These Charms May Be Sung Over A Wound', has Skelton abandoning acoustic instrumentation to map out a new territory of buzzing sine tones and square waves, immersed in shimmering clouds of distortion and suspended over landscapes of thrumming bass. The result is a new and transcendental experience: while the key themes of Skelton's music remain - stark and lonely geographies, ancient myths buried deep within the land, slow-moving glacial evolution - we are transported to a darker and more mechanical place. The intensity and sound design here are more akin to quasi-industrial, abandoned-factory sonics than to earthy, organic tones of earlier Richard Skelton albums. Abul Mogard and Alessandro Cortini could be considered peers now, just as much as Eno and Basinski had been before.
5053760062714

Details

Format: Vinyl
Label: IMT
Rel. Date: 04/23/2021
UPC: 5053760062714

These Charms May Be Sung Over A Wound
Artist: Richard Skelton
Format: Vinyl
New: Available to Order $27.98
Wish

Available Formats and Editions

DISC: 1

1. The Viscid Substance
2. Against All Tendernesses Of The Eyes
3. For Either Deadened or Undeadened
4. For The Application of Fire
5. For An Inward Wound
6. For A Swarthened Body
7. Against Bite and Rend of Snake
8. For All Cleansings
9. On Each Of the Six Fives of the Moon

More Info:

Over the past sixteen years seminal British experimental musician Richard Skelton has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. This stunning new album is Skelton's first on vinyl in over a decade, and a standout record in his own catalogue. 'These Charms May Be Sung Over A Wound', has Skelton abandoning acoustic instrumentation to map out a new territory of buzzing sine tones and square waves, immersed in shimmering clouds of distortion and suspended over landscapes of thrumming bass. The result is a new and transcendental experience: while the key themes of Skelton's music remain - stark and lonely geographies, ancient myths buried deep within the land, slow-moving glacial evolution - we are transported to a darker and more mechanical place. The intensity and sound design here are more akin to quasi-industrial, abandoned-factory sonics than to earthy, organic tones of earlier Richard Skelton albums. Abul Mogard and Alessandro Cortini could be considered peers now, just as much as Eno and Basinski had been before.

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