Ok, so it looks like I’ll be making good on my promise to get all of Gizeh‘s releases posted on here this week. Paul Elam made his full-length debut onÂ Gizeh Records with the release ofÂ a correction. I forgot to mention this on my Fieldhead piece on riser from yesterday, but Fieldhead was actually a part of Ghostly’s latest SMM compilation OpiateÂ which I actually wrote about last yearÂ – it included Celer, A Winged Victory for the Sullen and Noveller among others. There are, again, only two tracks for preview but they seem to give a great glimpse as to what to expect onÂ a correction. Elam’s ambient compositions with Elaine Reynolds’ wailing violin as the prime locus point came out beautifully and you can sense a great feeling of warmth among the ominous white washes of sound and vast sampling. Check out “a correction” and “stolen” below via the Soundcloud stream and see what you think of them. Cheers!
180g heavyweight LP comes in a beautiful matte finished sleeve with black inner paper sleeve stamped with the Gizeh logo. Download available as MP3 or Lossless.
a correction is the new album from Fieldhead and it builds on the love of melody, brevity and dusty
atmosphere found in his previous releases â€“ they shook hands for hours (Home Assembly Music 2009) and riser (Gizeh 2010).
Fieldheadâ€™s music has always drawn heavily from his surroundings, with previous work taking much from the moors and towns around his former home of Leeds. In July 2010 Paul left these familiar surroundings for a new home in Canada, and the widescreen landscapes of his adopted home have shaped Fieldheadâ€™s music into a more expansive and emotive form. The familiar tape hiss and scratchy, decaying atmospheres remain from his previous work, but with a correction Elam has combined them with a deeper understanding of space and place.
The album appears minimalistic on first listen, but a correction is a record that slowly unfurls over time. Clouded melodies ride on a distant but almost constant pulse that brings the vast landscapes in and out of focus throughout the album, an approach that never allows the listener to get too comfortable, and one that sets apart Fieldheadâ€™s music from many other safer artists within the genre.
The violin of Elaine Reynolds (The Boats / The Sea) is central to a correction, adding warmth to the desolate northern atmospheres of the album, as well as providing the centrepoint of the recordâ€™s emotive peaks.
Previous comparisons of Fieldheadâ€™s work to William Basinski, Machinefabriek and Grouper are definitely justified, but Paulâ€™s work is undoubtedly more direct and concise. Itâ€™s fair to say that Elamâ€™s previous outputs have already made his name in the ambient / drone field and a correction should further enhance his reputation as someone who can seamlessly marry soundscapes and melody to form an affecting and timeless piece of music.
- Maybe Buy
- Not My Style
- Too Expensive