I love the Ex Eye album too. but i don't care for the gorecki.
― Einstein, Kazanga, Sitar (abanana), Friday, 21 July 2017 09:10 (six years ago) link
saw him live last week and he was amazing, one new track in particular was unbelievably intense, I couldn't stop grinning
― ogmor, Friday, 21 July 2017 13:09 (six years ago) link
Gorecki, Ex Eye, love them both
― Mince Pramthwart (James Morrison), Saturday, 22 July 2017 04:53 (six years ago) link
Damn, let me be the last to say this Ex Eye album is great. Now I want Stetson to make an album with GY!BE.
― Rod Steel (musicfanatic), Wednesday, 16 August 2017 00:23 (six years ago) link
Ex Eye is insanely good. This may be the best thing I've heard this year.
― jmm, Saturday, 26 August 2017 17:21 (six years ago) link
The Hereditary OST is the first thing I've properly loved by CS since Judges. The closing run of Peter, Chasing Peter, The Attic, Reborn and Hail Paemon! is boss.
― Doran, Saturday, 14 July 2018 22:43 (five years ago) link
Discovered this via eoy lists and it's hitting me right today
https://brighdechaimbeul.bandcamp.com/album/carry-them-with-ushttps://thequietus.com/articles/32829-brdghe-chaimbeul-carry-them-with-us-review
Brìghse Chaimbeul has risen to prominence since her first album, 2019’s entrancing The Reeling, in a way that few Scottish pipers have achieved, including playing for world leaders at COP26 in Glasgow. Her instrument is the smallpipes, a more portable, practical version of the Great Highland bagpipes which also carry fewer cultural assumptions. Chaimbeul has brought Scottish piping to a new audience with her captivating style, which has affinity with psychedelic drone as well as the folk traditions of the north. On ‘Carry Them With Us’, she shows her complete confidence as a musician through a collaboration with saxophonist Colin Stetson, which was formed initially over Twitter during lockdown.The album is mostly instrumental, but its tracks tell stories. ‘Banish the Giant of Doubt and Despair’, for example, is a reel that starts quick and spins out of control, reflecting the tale of the princess of an underwater kingdom and the giant of the Western Isles who cannot stop dancing to her song, faster and faster until he falls into the sea and drowns. Melodic cascades flow from Chaimbeul’s pipes as though she can barely restrain them, while a bass drone and subtle, breathy saxophone combine seamlessly to set the scene. Stetson, who has been in several bands including Arcade Fire and has worked with everyone from Anthony Braxton to Tom Waits, is a subtle musician. Despite the unconventional pairing of instruments, they often seem to make a single sound. After her collaboration with major Scottish folk scene figures ‘The Reeling’, she is branching out to make new sounds.The result is an exciting, sometimes bewitching set of tunes. Some are improvised, the two musicians working together with consummate ease.
The album is mostly instrumental, but its tracks tell stories. ‘Banish the Giant of Doubt and Despair’, for example, is a reel that starts quick and spins out of control, reflecting the tale of the princess of an underwater kingdom and the giant of the Western Isles who cannot stop dancing to her song, faster and faster until he falls into the sea and drowns. Melodic cascades flow from Chaimbeul’s pipes as though she can barely restrain them, while a bass drone and subtle, breathy saxophone combine seamlessly to set the scene. Stetson, who has been in several bands including Arcade Fire and has worked with everyone from Anthony Braxton to Tom Waits, is a subtle musician. Despite the unconventional pairing of instruments, they often seem to make a single sound. After her collaboration with major Scottish folk scene figures ‘The Reeling’, she is branching out to make new sounds.
The result is an exciting, sometimes bewitching set of tunes. Some are improvised, the two musicians working together with consummate ease.
― Indexed, Tuesday, 2 January 2024 17:40 (three months ago) link