But this is nice. Expansive.
I don’t know if she recorded herself in a large cave, or approximated that using digital signal processing technology – maybe none of us will ever really know for sure. But either way this one puts a fresh spin on an aesthetic I recall fondly from Florence’s Ceremonials. And if any part of you thinks that may not be a complementary parallel, then I think you need to listen to that album again.
Sounds like the epicness is even testing the poor soundcloud encoder, but such is our luck and luxury we can now buy a version captured with a fuller complement of bytes.
Also I couldn’t help but notice her Soundcloud is followed by people including Flight Facilities – to which I thought “hmmmm” and also “well now”. If they do ever do a thing together I’m calling that last sentence an exclusive.
Anyway I trust you value our new format, where we’re careful to review streaming encoder performance and who follows who on social networks. 2014 journalism is the best journalism.
I don’t always listen to folk, but when I do I tend to like it both succint and epic. Conceptually and actually.
Now that I think about it for the first time, maybe that’s impossible (or at the least unreasonable to demand)… but in stubborness I guess my reply to that would be some kind of shrug.
I don’t really seem to do meandering. I’m just not a meanderer.
So this Ainsley Farrell ditty grabbed me – an impossible little gem.
After the 30 second prequel we get rolling minor chords and even more rolling ocean metaphors – and you don’t get bigger and more mysterious than the ocean, do you? DO YOU? Well, except maybe for space. But space doesn’t really roll… and anyway shut up we’re talking about Ainsley’s song.
That aforementioned song I hereby refer to crams a lot of evocative, desolate sound into less than 2 minutes and it doesn’t even feel rushed or cut-off. Curious huh.
You are all here to witness the impossible moment where I post a song that meets my impossible folk demands.
Brand new taste of the new King Gizzard album due out in September. ‘Head On/Pill’ is 16 minutes of epic Gizzard sounds, now with added sitar. Usually I would see sitar and think, oh gosh, the King Gizz’s have gone to King Jizz’s (shit joke I know), but after I heard the rollicking track, I was convinced otherwise. The sitar sits as part of the rhythm section, and although you can hear it in the mix, it never features obnoxiously. And really, how the fuck can you turn down a 16 minute epic from these fellas? Really keen for the new album.
Secret Hands is a local Melbourne dude playing some really epic sounding indie goodness, but with this element of introspection which I’m diggin a hell of a lot.
His debut EP, ‘How’ is a really well crafted synth and percussion driven tale of epicness. And that sentence is equally bad as this EP is good (read: sentence was one of the shittest one’s i’ve written/this EP is one of the best things I’ve heard in a while).
Lead track we got below…and if you like, check out the full EP over on iTunes. No chance of being disappointed.