The aptly namedÂ Resurrection is Leafcutter John’s sixth album and his first solo album since 2006 – it’s been a while. Not only is the album cover wonderfulÂ to look at, but the sounds within are the cherries on top of the delicious sundae pictured.Â Resurrection takes me back to hiking through the vast jungles of Costa Rica, where the rain never seems to end. There was never a deluge, but the water justÂ floated down through the air every waking moment. Costa Rica also had some dense patches of fog along with this and this just added to an already surreal landscape.Â Resurrection is a sound collage, combining elements of post-rock, ambient and electronica. Leafcutter JohnÂ was initially recognized by Mike Paradinas of Planet MuÂ but after releasing three albums, and a single, on Paradinas’ label, he moved on to StaubgoldÂ to release another album. Now, almost a decade later, he drops this on us. Listen to Resurrection below via the Spotify stream and see what you think of it. Cheers!
A panoramic sound world of drifting vocals over a densely-processed terrain of mud- caked percussion and guitar, Leafcutter Johnâ€™s new solo album, Resurrection, is a characteristically unique blend of the electronic and the acoustic, the hi-tech, the human and the homemade.
Resurrection is the sixth Leafcutter John album and his first solo release since 2006â€™s The Forest and The Sea CD/LP (Staubgold). In the intervening nine years, John has toured from Vietnam to Venice, appeared live with Beck Hansen and Imogen Heap, and provided the score for Crow, a major theatre project by Handspring (creators of War Horse). During this time, John has also maintained his permanent role as the unpredictable, electronic antagonist in Polar Bear, the twice Mercury Music Prize- nominated, genre-defying jazz band.
This new record marks fifteen years of releases by Leafcutter John. Born John Burton in Wakefield (Yorkshire, England), his highly original musical voice was first spotted by Mike Paradinas, label boss of Planet Mu Records. Over the course of his first three albums (2000-2003), John established and developed his idiosyncratic London-based studio, and his skills as an inventor of unusual instruments and extraordinary music software.
Resurrection begins with the sound of a single bell, in homage to one of Johnâ€™s major influences, Bernard Parmigianiâ€™s De Natura Sonorum (1976). From there, the album unfolds over five cinematically varied tracks, â€ślike floating above a world in constant flux.â€ť In fact, aerial photographs of the Japanese tsunami of 2011 were a direct inspiration for the record. â€śI would create complete, fully-formed compositions,â€ť says John, â€śthen later, Iâ€™d come back to them, playing the part of the destroyer, scraping and smearing away elements, weathering, piling up and re-ordering them, as if theyâ€™d been hit by a natural disaster.â€ť
Not content with the usual tools available to the electronic musician, John has created innovative new systems and techniques for both live performance and production. This includes a light-controlled instrument that allows him manipulate his live sound through gesture, flickering candles, flashing torches and pyrotechnics. For the track â€śGulpsâ€ť, John coded special software to layer huge swathes of sound. Using a recursive system, he created 7.1 billion layers of a recording of the North Sea, one for each human alive on the planet at the time of writing. Featuring a guest appearance by Shabaka Hutchings (Sons of Kemet), â€śGulpsâ€ť is a neat demonstration of Johnâ€™s approach: Hutchingsâ€™ intimate clarinet is gradually engulfed by a (literal) ocean of sound. This is music where technological innovation is always at the service of the emotional impact of the music: deeply human at its root and mind-expanding in its ambition.
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