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B R I A N L A V E L L E
Just a Song at Twilight
CDR
A suite of three contemplative and
introverted electronic drone pieces, recorded during the
autumn and winter of 2005.
Three tracks
Running time: 55:31
Reviews
Catalogue number: DU01
Release date:
19 April 2006
Limitation:
First edition of 150 numbered and signed copies
Artwork/design by Brian Lavelle. Clear jewel
case with full colour photographic inlays and professionally duplicated
and printed disc.
Click here for a larger image of the
front cover in a new window.
Listen: 320kbit
11.8mb mp3 • excerpt from the first part • click to
download
Order
Reviews
Kyle Wright, Diophantine Discs, 31 December 2006
This album takes the listener on one of the most lush musical journeys
imaginable. Maintaining a strong sense of minimalism throughout the
recording, it nevertheless remains highly dynamic and engaging. The
release consists of three long tracks; each is quite unique, but
fitting well within the theme of the whole release. One of the more
luxuriously packaged CDrs I've seen, both the artwork and music fit
well with the title. Much of the material consists of strong (sometimes
beautiful, sometimes very intense) drones, often gradually accompanied
by slow, repeated, synthesizer segments, field recordings (rain, bells,
fire), mild electrical feedback, light glitchy sounds, and organ
drones. For me, the 2nd track achieves a certain emotional element and
feeling that an instrumental track has rarely achieved. This is
certainly some of the most enjoyable, innovative, and experimental
ambient-drone music that I have heard in a while.
Jos Smolders, EARLabs.org, 17 May 2006
Brian Lavelle has
started a new
"small label for releases of drone, electronic, phonography and
experimental music albums". This is the first one.I received the 3rd
copy in an issue of 150, with the kind request to listen to it
carefully. As I know Brian personally and because I like the music I
have heard of him this was, of course, not a big problem for me.
Brian has announced the
inception of
this label for a long time. I believe already in 2004 his site
announced that he was going to focus more on quiet releases. I was
curious then, because I like quiet music and especially coming from
Brian this could become something worth listening to.
Cover: What catches our
eyes
immediately is the romantic atmosphere of the cover. It's almost gothic
in its reference to Arcadia. We see a lot of foliage and in the center
there is a waterfall that is lit by the sun. We, the viewers, remain in
the shadows and from that view point we look at a brighter world.
Music: The title is
"Just A Song at Twilight", so the three parts form one song. Let's
write while we listen. And then reflect.
part 1: A slow movement
of horn
sounds grows steadily louder. The basics in the center are interleaved
by a waving of the same sound from left to right and back, going faster
and then slower, dying out and coming again. The development continues
when in minute 3 a (digital) reverbeal distortion settles in the higher
frequencies. At 5'30" church bells chime in in the background.
Half way through
something like a
waterfall is mixed in. That is when the sound spectrum is rather full.
The basses subside somewhat and a higher pitched drone takes over the
role of the horn sounds. The composition takes a turn here. The Gothic
atmosphere is subsided and an interplay of digital frequencies
continues, with in the background the sound of a campfire. The pace of
the composition remains the same. It all ends with reverberated sounds
and the campfire sounds getting more to the foreground.
Structurally this is a
strong work and it remains pleasant to listen to from start to finish.
part 2: The work starts
with high
pitched harmonics which more and more get a base of Reich-ian synth
pulses. Then, at 1'30", something strange happens. A synth melodic
motive enters the scene which immediately reminds me of Vangelis. I
can't help it. Both the melody and the sound color of the entire piece
remind me very strong of the Greek synth god. The work breathes a
positive and uplifting atmosphere but somehow I cannot really connect
it to the Lavelle I know. It is too romantic for my taste. But putting
aside my rejection of the 'romanticism' I think that the melodic
motive, its pace and development are not fitting. The motive does not
evolve; it just continues for a good 7 minutes. After which the end
phase takes over which is rather good.
part 3: Here's where we
get back to
the Brian Lavelle that we know so well. It starts with a simple tone
which is soon accompanied by harmonic weavings that grow and grow until
they form a [?]
In the background we
regularly hear
the sound of what I think could be a wooden wind chime. The slow
atmosphere is disrupted by the intrusion of a synthetic harmonic sound
that flanges around and around (a bit like the good old Lesley system).
As (slowly, slowly) the high pitches die down and only the basses
remain the wind chime becomes better audible. We also hear birds in the
distance. Then the composition moves forward with a growing of the
higher pitches again. The end, again, is majestic.
Brian's advice is to
play this music
at a low volume, at twilight. At twilight I myself tend to jump out of
bed, whereas other people slowly wake up, try and reach their clothes
and put a kettle on. In other words, people's mindset can be quite
different while listening. I think that listening to this music at a
low volume is a shame because one of the best things in this album is
the balance of the sound palette. And this can be best admired at a
decent volume.
Conclusion: I think
Lavelle is moving
into a direction that might not be mine. But this cd brings you 47
minutes of excellent sound, the other 7 minutes I could do without.
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© 2007 Dust, Unsettled
"The dust had by then
ceased to
swirl, though I am sure it still lay thick on the room floor, the
floors of the other rooms, the passages, the stairs, the furniture, and
all our hearts."