OK

Při poskytování služeb nám pomáhají soubory cookie. Používáním našich služeb vyjadřujete souhlas s naším používáním souborů cookie. Více informací

Úvodní stránka » NOMINATED ARTISTS FOR 2018y. » Gareth Dickson — Orwell Court
Gareth Dickson — Orwell Court (November 11, 2016)

Gareth Dickson — Orwell Court (November 11, 2016)

  Gareth Dickson — Orwell Court (November 11, 2016) Gareth Dickson — Orwell Court (November 11, 2016) •■•   Jednu zastávku vzdálenosti od Nicka Drakea a na ½ cesty k Johnu Southworthovi, přesněji jeho dvojalbu “Niagara”. A mám si vybrat jednu ze sedmi písní a vyzvednout ji na svůj skromný piedestal? Pak je to “Snag With The Language”. Krátkometrážní album na labelu 12k (is a New York based experimental music label). Zvedněte svět, jako by to bylo pírko — publikum zmizelo, takže zamčení jsme teď v jeho písních. U nás má k němu blízko Milan Matoušek. Cyclic Defrost popsal písně Gareth Dicksona takto: “Sleek folk simplicity with velvet charmed tones lulling the listener into ambient drenched calm.”                                                                                                 Location: Glasgow, Scotland, UK
Album release: November 11, 2016
Record Label: 12k / Discolexique (EU)
Format: CD
Edition: 1000
Duration:     36:04
Tracks:
01 Two Halfs     4:18
02 The Big Lie     4:38
03 Snag With The Language     5:17
04 The Hinge Of The Year     5:52
05 Red Road     5:05
06 The Solid World     5:47
07 Atmosphere     5:07                                                                                                           Lyrics “The Big Lie”           (CGDF#BD  Capo 3)
Three fell, too easily, for me
Come to me, you are still my sons
Fall to your hands, to your knees, scream from the top of your lungs what you’ve done
Then come on home and join the fun
There is nothing you have done this time that hasn’t before or since been done
And it is tiring, tiring, tiring, tiring, tiring, tiring when you're on the run
Then you can stand, with a steel framed resolve
Which neither fire nor you nor any other liar nor jet fuel could ever dissolve
We have seen with our own eyes
And I will never again believe the big lie
•■•   Gareth Dickson is ghostlike. From the dark outskirts of Glasgow he has sent three studio studio albums in to the world — Collected Recordings (2009), The Dance (2010) and Quite A Way Away (2012). These albums have bewitched a growing inner circle, including some of the most innovative musicians around today — Juana Molina and Vashti Bunyan to name just two. Gareth has been the only constant member of Vashti’s touring outfit over the past ten years and latterly they have stripped down to a duet on their worldwide travels. Vashti indeed makes a spectral apparition on the first track of Gareth’s new album Orwell Court.
•■•   Gareth Dickson’s music is both beautiful and dark. A quiet Scottish melancholy underpinned by a grace and ethereal purity paired with a unique impression where the delicacy of Nick Drake mixes with the openness and space Brian Eno. Gareth’s music is often stripped down to the spare elements of voice and acoustic guitar, but a complex and mysterious music hides beneath the surface, demanding but generous and surprising. Clearly picking up where his previous albums left off, Gareth throws in a few surprises. Gleaned from his time spent touring and experimenting between albums the addition of a drum kit, some keyboards and guest vocalists enrich the palette. But fear not, these elements, while previously unheard of in his music, are approached with the subtlety that his listeners expect. They are a texture that adds dimension throughout the album. The hush is still there in its most genuine form.
•■•   In the image of it’s author, on the brink of falling in to juvenille delinqueny, Gareth took a straighter path and ended up on the university trampoline team while studying aerospace engineering. Now he spends his days eating vegan snacks, knows how to choose a good lawyer, and sports his normcore t~shirts on the tennis courts of Glasgow’s Southside. At night he presses his red Doc Martens a little harder on the accelerator of his Rover 75 on highways where they drive on the left. Everything is only a pretext to fuel his visceral need of creation, as attested by his superglued nails cared for as extensions of his guitar. Accuracy and uniqueness are at the heart of his artistic process. He establishes a relationship to time outwith the current mad and superficial pace of our own. His music is a form of modern classicism, by a man constantly aware that perfection lies shrouded in mists of uncertainty and ambiguity. It is above all a question of obsession and atmosphere. And it is a unwaveringly sublime cover of this Joy Division title that closes Orwell Court. Past revisited, and behind that, transcendence.
Gareth Dickson
•■•   Over the last few years Gareth Dickson has been steadily working his way to the attention of the music community. Based around the acoustic guitar, his compositions employ effects (analogue delay and reverb) in an attempt to recreate something of the modern ambient/electronic musical landscape which in many ways characterises recent times, as well as referencing some of the well known fingerpickers of the past such as Nick Drake and Bert Jansch. Sometimes entirely instrumental, sometimes with sparing vocals, always with the idea of exploring and finding new possibilities for an age old instrument. He has toured extensively as Vashti Bunyan’s guitarist and has toured as a solo artist providing support for Juana Molina and Isobel Campbell among others.
•■•   His first full~length release, Collected Recordings (2009, Drifting Falling), was described as “Sleek folk simplicity with velvet charmed tones lulling the listener into ambient drenched calm.” by Cyclic Defrost. In 2010 The Dance was released, marking a shift towards the more experimental and again gaining some great reviews from some of the more respected review sites such as Fluid Radio and Textura. 2012 sees the next step in the discography, as well as some long awaited recognition of the previous work, with a release on the 12k label. The new album is song based this time, like Collected Recordings, but also combines some of the more rhythmic elements developed in The Dance.
•■•   “From Glasgow, a solo artist singing and playing acoustic guitar — sometimes effected, his songs slip between a beautifully sparse, emotive fragility (recalling Nick Drake, Bert Jansch, etc.) and denser instrumentals (recalling Eno or Labradford). Very cool stuff.” — FatCat Records
12k: http://www.12k.com/
Notes:
•■•   12k is a New York based experimental music label run by artist Taylor Deupree that has decisively defined and developed its own concept of minimalism in the realms of experimental and ambient music.
Bandcamp: https://12kmusic.bandcamp.com/album/orwell-court
Website: http://garethdickson.co.uk/
Soundcloud: https://soundcloud.com/gareth-dickson
Facebook: https://www.facebook.com/garethdicksonmusic/
By radiocometarossa: http://cometarossa.org/2014/03/gareth-dickson-celine-brooks/

•■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■••■

Gareth Dickson — Orwell Court (November 11, 2016)

NEWS

16.8.2017

Amplifier

16.8.2017

Kelley Stoltz

16.8.2017

Grizzly Bear

16.8.2017

Duncan Lloyd

16.8.2017

ILK — Y U

14.8.2017

Richard Thompson

14.8.2017

Work Drugs

14.8.2017

Safe to Say

14.8.2017

Jen Cloher

archiv

ALBUM COVERS IX.

Grizzly Bear — Painted Ruins (August 18, 2017)
Tais Awards & Harvest Prize
Za Zelenou liškou 140 00 Praha 4, CZE
+420608841540