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For the second time in the label the Danish artist Paw Grabowski aka øjeRum presents a reissue taken from his wide catalogue.
Stilhedens Strømmen I Fuglenes Blod (published as self-release in 2015) is a brave acoustic guitar suite, delicate and magnetic, recorded in a perfect balance between ambient and folk. The result is a spiritual and meditative flow where the listener can dive and let himself be lulled by repeating melodies, evocative small variations and a great hypnotic style. A little pure diamond for the genre that KrysaliSound is proud to publish.

RELEASE DATE: 27.04.2018

James A. McDermid goes for glowing realms with the soothing ambient washes of “Tonal Glints”. Infused with tremendous melodies, James A. McDermid balances between the real and the imagined. Done with the utmost of grace everything about these pieces teems with such life. Hope radiates out of these small suites, while James A. McDermid employs a series of tactile sounds into the mix ensuring that everything feels living and breathing. Rhythms have a pastoral quality to them, for James A. McDermid eschews percussion. By opting out of a more conventional rhythm means these pieces have a dreamy, hazy quality to them.

Setting a curious opener is the playful music box quality of “The vagabond”. From there things start in earnest with the serene beauty of “All the shutters are closed”. A hazy quality comes to define the entirety of the track, allowing it such tremendous beauty. By far the highlight of the collection it simply washes over in a blissful, half-dreamed sort of way. Elements of folk appear in the ghostly atmosphere of “I’ll take one who loves me”. The spacious “Within reach” goes for a deeper presence, one nearly mystical in tenor. Field recording meets ambient composition on the gentle “If you concede”. Eerie with its otherworldly presence is “I saw red, and through the red, nothing”. Bringing the album to a close the reflective “Faraway Too Close” feels just right.

On “Tonal Glints” James A McDermid explores an entire universe of sound, one that feels so vivid and full of color.

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Il musicista di Bristol, James A. McDermid, inizia la sua carriera circa 15 anni fa, ma solo dopo la prematura morte della sorella Harriet trova costanza e ispirazione per i suoi primi lavori più compiuti. Dopo il folk elettronico scarnificato di “Ghost Folk” – ispiratissimo Lp di ben 25 bozzetti pieni di malinconici rimandi alla sofferenza e al senso di vuoto nato dal lutto – è la volta del nuovo “Tonal Glints”, anch’esso figlio dell’elaborazione del dolore e dell’incapacità di razionalizzare un evento tanto traumatico.

James A. McDermid si muove al di là dei classici confini della musica elettronica atmosferica per lambire momenti gothic-dark, dal folk più depresso sino al post-rock in stile Labradford. Le dodici tracce passano da ricerche timbriche di synth spettrali (le campane in lontananza di “The Vagabond”) a più classici crescendi ambient di “All The Shutters Are Closed” (inizio elettroacustico e imponente muro sonoro finale con cori femminili).
Momenti poetici si sviluppano quando McDermid imbraccia la chitarra acustica per tracciare un percorso di folk atmosferico intimista (“I’ll Take One Who loves Me”) di notevole impatto emotivo. Gli episodi più oscuri rimandano invece alle tenebrose sonorità dark di Elegi (“Last Year”) o alle dissonanze del Tim Hecker di “Ravedeath, 1972” (“Worse Than The Last Look” e “I Put The Letter In My Pocket”).

Tra brevi abbozzi di musique concrete (“Bunny”) e ambient dilatato in stile Hammock(“Within Reach”), spicca il post-rock, parente strettissimo dell’approccio dark con voce sussurrata dei Labradford, di “If You Concede”. Sussurro che diventa una sorta di preghiera laica che non ha bisogno di urlare le proprie certezze, perché è solo un tentativo per esorcizzare i propri incubi, non ostentazione di una pseudo-verità precostituita.
Si chiude con “Faraway Too Close”, straziante texture di synth con dialoghi impercettibili e finale liberatorio con poche note di piano a creare uno squarcio di luce nelle tenebre. James A. McDermid sembra salutare un’ultima volta la sorella per dirci che la vita, nonostante tutto, deve andare avanti.

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https://bandcamp.com/EmbeddedPlayer/v=2/album=1960332514/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/

[krysalisound] Un turbine di emozioni pesanti come piombo tradotti in catartiche sculture sonore. È il dolore profondo per una prematura assenza che spinge James A. McDermid a strutturare in opera concreta il suo approccio alla musica trasformandolo in gesto necessario per riuscire a superare la perdita della sorella. Un’urgenza espressiva che origina un trittico di […]

via james a. mcdermid “tonal glints” — SoWhat

Domenica 25 Marzo il Cohen di Verona ospiterà un live KrysaliSound dove suoneranno GALATIMOSCONI e FRANCIS M. GRI. L’evento intitolato dagli organizzatori “The Cohen underground” avrà l’obiettivo di portare a Verona un genere musicale sconosciuto a molti ma non per questo inaccessibile. Un genere che nasce dalla sperimentazione e dalla ricerca sonora, dove lo strumento non ha più il ruolo che tutti siamo soliti conoscere ma è il mezzo tramite cui il musicista lascia fluire le sue emozioni senza orpelli o schemi dettati dall’industria musicale.

Tre chitarristi con stili differenti ma che convogliano in un’unica direzione d’intenti: Federico Mosconi e Roberto Galati si esibiranno nel duo GALATIMOSCONI con un sound dal forte impatto emotivo, un muro di suoni che trasporterà l’ascoltatore nella penombra di una foresta selvaggia ancora inesplorata. Francis M. Gri invece proporrà un sound più delicato ed etereo, costruendo con il suo looper paesaggi suggestivi e autunnali.

Sicuramente stiamo parlando di un genere di nicchia, lo so,  ma sono convinto che potrebbe avere molto più seguito se solo il genere ambient riuscisse ad uscire dallo scantinato dove è stato ingiustamente relegato. Per cui se vi piace il post-rock o il jazz più sperimentale, l’elettronica o la musica più spirituale o semplicemente amate le colonne sonore venite a trovarci al Cohen e capirete che in fondo la bellezza della musica, come della vita in fondo, è non avere confini e non creare barriere!

Grazie di cuore a chi si è preso cura di questo evento, ai responsabili del Cohen e ad Alessandro Nobis per aver organizzato questa serata speciale!

Di seguito il link all’evento:

https://www.facebook.com/events/348523275663820/

My sister is my only sibling; I can’t imagine what it would be like to lose her.  Two years ago, James A. McDermid experienced the unimaginable.  The loss of Harriet (1975-2016) left a huge hole in his life, and ever since then music has been his lighthouse in a sea of grief.  Tonal Glints is the second of two albums released in her honor, following last year’s Ghost Folk on Polar Seas.  The new album has half as many tracks but is no less powerful.  It represents a time in which the sorrow has reached the marrow.

McDermid cites Sophie Calle’s Exquisite Pain as one inspiration.  In that multi-media book, the artist pairs photographs with personal answers to the question, “When did you most suffer?”  One of the conclusions she seems to reach is that great suffering can lead to great art (although most would prefer not to have paid the price).  McDermid channels his emotions into his music, and creates an echo of his sister’s life through the lens of loss.

Although primarily ambient, the music touches upon other genres as well, the opening chimes like field recordings, the highlight track “All the shutters are closed” an excursion into drone, the languid “I’ll take one who loves me” beginning like folk music before disintegrating into fog.  But despite the changes in texture and instrument, the pensive tone remains the same.  This is music about getting up in the afternoon when one had planned to get up in the morning, but staying the course long enough to get one little thing done.  It’s music that whispers at a bedside so as not to disturb a loved one’s sleep.  When words do emerge (“Within reach”), they dangle just beyond reach, like reminders in the clouds.  Strangely, the album seems neither mournful nor cheerful, but stuck, attempting to pull its legs from the quicksand of grief.  And yet we know that the album is evidence of the opposite: an artist fighting against torpor and ever-so-slowly succeeding.

Tonal Glints is about Harriet, but also about James, and the ties that bind, even beyond death.  It’s a beautiful testimony about a continuing relationship, one sibling gone and yet not-gone.  We can look through this window and almost see her; but in this case, even a glint is a blessing.  (Richard Allen)

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From the off ‘Tonal Glints’ by James A. McDermid is peppered with hoity-toity spice appeal in its synthesizer sheen about the place. Soft and focused hues spell interstellar gravitation like landing on the moon with rollerblades on. The fruit from booting up disk drives comes as a tuneful adage to the restorative space ambient hummus that is moreish and plentifully stocked in the ambient universe. What extrapolates James level from this record is going doolally with melody love.

James A. McDermid has here created music that is woozy and absorbant in its earworm drones, a noughties Steve Roach who has more of a focus on action over drift. The music paddles along in swathes of reverb until it reaches another wormhole in the cosmos. Brief drone oxygenation occurs a little at each turn; what this means for the listeners is an exciting set of deep and holistic musical graduals that are easy to follow and bri?liant to digest, swimming their way to spiritual execution.

There is a certain state of exegesis within the lines… a type of fractal poetry that breaks down expectations of where things are going next. It can be described as aspects of “chance, trance, goa music style” in the overall nomination of major and lack of suspended scales. Goa trance is like this drone example, in that sense; it is full of over-arched confluence, and that confluence – the ability to retain ideas – is the reason the music works so well.

What works best from “Tonal Glints” is its mature and researched enveloping of a pre-existing ambient sound palette. With choral vocals added to the mix here and there, the album approaches Hammock tenderness and anti-virtuous richness. While some might say it’s a little lost in it’s own shadow at present, give this stuff time – it could grow on you like a soft woolly jumper. Lovely heartwarming stuff, KrysaliSound sate electronic-acoustic sunshine with this release.

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In recent weeks, my daily efforts seem to nudge towards my writing career more than my work for Merchants Of Air. In a way, that is a good evolution, certainly from a professional standpoint. However, I missed writing about brilliant new albums, and especially about albums that play a certain role in my other writings. This one by James A. McDermid has been playing quite a few times in the past few days. It accompagnied me while I created a new chapter in my ‘Unwasted Years’ project, thus it serves as some sort of inspiration. I said it before and I’ll say it again, that is what good albums do: inspire people. Therefore it’s certainly good enough to be reviewed.

Of course, James A. McDermid is no stranger to Merchants Of Air. Last April I reviewed his ‘Ghost Folk’ album, which had been released on Polar Seas Records (read). Now, the Bristol, England resident returns with a brand new set of instrumentals. Like ‘Ghost Folk’, this album is dedicated to McDermid’s sister Harriet, who passed away in August 2016. In these twelve tracks he tries to cope with the loss and the grief. You can also hear that. Although I tagged this as “ambient” most of the songs here are vague, subdued pieces of music, influenced by folk, ambient and post rock. You can hear sad guitars, gloomy soundscapes and a deeply introvert atmosphere.

I found it hard to pick a favorite track on this album, but I guess that’s just my massive adoration for ambient music. ‘Within Reach’ is a certain candidate for that spot, but so is the dark and droning ‘If You Concede’ and the lingering ‘All The Shutters Are Closed’. In all, obviously, this is a splendid album, a very emotional too. I’m certain that all of these tracks will appear in my day-to-day playlist from now on, along with their predecessors of ‘Ghost Folk’. Some of these songs will probably function as inspiration again as they are perfect mood setters. So yes, this album comes highly recommended to all ambient aficionados out there.

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