Posts Tagged album
Somehow I neglected to include Richard Gürtler’s May 2013 review of The Separate Ones here. Definitely an oversight, which I’m happy to rectify now. Many thanks, Richard!
Eyes Cast Down is Greg Moorcroft from Chicago and The Separate Ones is his debut work released on his own Kalindi Music label at the end of February 2013. As mentioned on Greg’s website, the album was recorded during the time span of 7 years. “First Day Apart”, a composition based on the longer separation with daughter, unfolds with sublime and sparse guitar dreamscapes, slowly meandering like a feather in the breeze. Strong longing feel is explored throughout this hazy and introspective soundscape, smoothly cascading from quieter contemplations to slightly more intense soars, yet still remaining enough consonant and allowing each listener to dive deeply into Eyes Cast Down’s own sonorous cavern.
“Rebuild From Memory” keeps its reflective dimension, but it’s surrounded by diversely scattered dissonant vibrations. “Knife Of Karma”, with 17 and half minutes the second longest composition, is invaded by fragile tinkles and mysteriously flavored drones, enhanced by diverse eerie fragments, cavernous rumbles and disruptive, nearly cacophonous embellishments. Here and there distant tribal groove fade in and out, and also occasional fanfares do their highly distinguishing work within this uniquely fragranced soundsculpting. All in all, it’s quite disturbing, but also as much challenging, a real masterpiece!!!
Celestial voice magics by guest singer Alannah lead “Expanse Of Heart” along with rather minimal and slowly shifting, organ-like drones create a truly mesmerizing reverie taking the listener on a soothing mind journey. The next composition, “Like A Riven Cloud”, clocking over 21-minute mark, reveals with deeper organic drones, enhanced by low rumbles and ghostly female whispers by another guest, Greg’s wife Dasi. Composed as a dedication to a friend that committed suicide, it paints a truly mysterious and grieving sceneries, especially when deeply evocative washes merge with the reciting voice along with expanding mournful violin expressions by Ezra Azmon. Few piano subtleties tranquilly float through too. Thoroughly gorgeous!!!
“Radha’s Tears” closes the album with coiling and resonating, hypnotic guitar drone, again conjugated with Dasi’s celestial chants. Overall, this is definitely not your ordinary accessible ambient recording, for sure The Separate Ones album craves for numerous listening sessions with deeply dedicated attention and immersion, but then it offers huge amount of fruitful and joyous moments filled with highly reflective, but enormously distinctive and intriguing palette of sounds and atmospheres. The Separate Ones is your ticket to magnificently perfumed and anomalously mindscaping sonic realms, a must have!!!
Photographs by Boris Lelong and Kris Tilbury nicely accomplish this album, while the credit for mastering goes to Bobby Jones. For a debut work like this, I won’t hesitate to say, this is a virtuoso performance!!! And since Greg Moorcroft was working during the last 7 years on several other albums, some of them are scheduled for this year’s release, so make sure you will keep an eye and ear on this highly capable and crafted ambient venturer!!!
Here is Richard’s full review, which can also be seen here:
Four years ago Chicago based Greg Moorcroft, the sole protagonist behind Eyes Cast Down, debuted with his album “The Separate Ones”, which I was fortunate to review several months later, in May 2013. In the meantime, during 2014, second solo album “Divinations” saw the light as well as collaborative recording “Memory Palace” with kindred soul Chris Russell. “Souls Adrift, In Disrepair”, the latest album by Eyes Cast Down, which is out since July 12th, 2016, was released by artist’s own Kalindi Music label and it’s packaged in a 4-panel digipak featuring stunningly immersing paintings by Royce Deans and Tali Farchi. This strongly enrapturing interaction was firstly born during a spontaneous, improvisational setting before premiering on a live art show in Chicago at April 1st, 2012. And four of five pieces presented on this album are connected to this multimedia jam.
Nearly 10-minute “Fading Angel” reveals layers of longing guitar drones, which drift, meander, reverberate, mesmerize… Introspective, smoothly sinuating passages distinguishably commingle with intricately high-pitched ear-tickling dissonant vistas. Although the mood might be rather minimal, hidden inside are lyrically enveloping nostalgic canvas, which masterfully amalgamate with the album’s visuals.
17-plus minutes long “Astral Drift” straightly dives into jaw-droppingly gargantuan depths, humming ultra deep drones briskly invade the scene and steal this magnificently transporting spectacle. A splendiferously dronescaping powerhouse is fully activated here!!! Ephemeral overtone-like groans sneak in here and there, but the magmatic flow is devastatingly adventurous and undeniably unlocks the gates of eargasmic transcendental Eden. Around 10th minute slightly relieving glimpse arise, but that’s just an “optical” illusion as the scenario quickly finds its tracks and resurrects all drone ghosts. Eerie ocarina calls arise as well and I am still swamped with ominously unfathomable drone walls. Even my weirdest expectations were surpassed with this composition, this is certainly Eyes Cast Down at its most exquisite, monolithic and desolate, a Drone Hall of Fame awaits!!! Enter now the Void!!!
The next piece, “Sirens Of Maya”, takes me back to earthier terrains sculpted with kaleidoscaping electric strings wizardry and painting thrillingly reflective and isochronally spiraling spellbinding images. As much rawly dazzling as harmoniously engrossing!
“Transcending Memory”, another longer track clocking to nearly 16-minute mark, maintains the deeply evocative route, where subtle monochromatic drone guards above, while relentlessly helixing desolations peculiarly bridge with poignantly magnifying, yet sinisterly traversing meridians. Aberrantly engulfing listening experience awaits here each devoted ears, this is obviously another epic composition superiorly exhibiting Greg Moorcroft’s extraordinary soundsculpting techniques. Bravo!!!
Transient pounding bass drum quite unexpectedly announces 18 minutes long “At This Body’s Final Hour”, which closes this highly astonishing journey. Mysteriously labyrinthine drifts are knottily counterpointed by poignant, yet evanescent piano patterns. Hallucinatory groans and voices are hanging above, interrupted occasionally by drum outbursts. Auxiliary female chorus (credited are Dasi, Greg’s wife, & Leyla) surreptitiously sneak in and numinously augment this ambiguously shapeshifting aural phenomenon. A grand finale indeed!!!
Greg Moorcroft, who mostly utilizes 6- and 12-string and fretless electric guitars, EBow as well as synths on this tour de force recording, has shown an enormous creativity and potential. This is a sensationally prodigious album, a truly triumphant 74-minute showcase of a challenging ingeniousness by its visionary force. I somehow can’t remember what my predictions were before exploring this album, but this doesn’t really matter, because as mentioned earlier, Greg Moorcroft has blew them all away with such glorious performance. A true gem, and still enormously hidden, among the most gifted pinnacles of 2016!!! Darker than the darkest, deeper than the deepest, hats off to Greg Moorcroft/Eyes Cast Down for this milestone, which must be encountered and applauded!!! A non-glass mastered format is the only limit here…
Regarding the latest updates, the next album by Eyes Cast Down is already recorded, it’s entitled “The White Island” and it should be out during the spring. The final mixing and artwork still has to be done. And last but not least, if you live near Philadelphia, mark in your calendar the date October 7th, 2017, because Eyes Cast Down will open for the iconic ambient guitar virtuoso Jeff Pearce at The Gatherings, which celebrates its 25th year. Then, after the concert, an hour live to air on Star’s End at WXPN Radio at the University of Pennsylvania will follow. Greg, you truly deserve such exposure!!! I really wish I could join…
Airplay for the Souls Adrift, in Disrepair album so far is keying on two tracks: Fading Angel and Sirens of Maya. Thanks to the following for playing the music:
Steve & Chrissie at One World Music
Stefan Schulz at Syndae
Bill Fox at Galactic Travels
Chuck van Zyl at Star’s End
All of these folks have played music from at least one of my prior albums, and I greatly appreciate their support. Thank you, all!
I’m delighted to announce the upcoming release of my fourth album, Souls Adrift, in Disrepair, on my Kalindi Music label. It will be available by download on July 12 and on CD shortly thereafter. The album’s release page is here.
I think of the album as… three guitar symphonies, a dark drift and an elegy. Possibly an oversimplification, but close enough to be helpful.
I had met Royce & Tali a mere five days beforehand (thanks, Eve!), towards the end of their 6-week residency in downtown Chicago (part of the Pop-Up Loop series), and we just went for it.
Many thanks to Royce & Tali for making the day, and for lending me their inspiring artwork for the CD package.
As always, every piece has a story…
Of the pieces which began as live improvs, Fading Angel needed the least rewriting to reach its final form. For the recording, I set aside my usual live playing approach and recorded all six guitar parts separately, playing them all the way through without looping. This approach allowed me, on each pass, to vary tempo, phrasing, and dynamics – unlike looping, where each repetition is exactly the same – and to interact with the previously-recorded parts even more closely than I can when looping.
I also did this for the other two guitar-driven pieces, and anticipate doing so for recording similar pieces going forward.
Astral Drift creates an unsettling atmosphere, using processed metallics, ocarina, voices and breath with an occasional guitar chord, and a few brush strokes of synths to keep us grounded, so we don’t go spiraling off into the void.
Sirens of Maya is built on a loop that’s all electric guitar harmonics, an approach I later ported over to acoustic guitar for Snowdance in Starlight on my album Divinations. Sirens of Maya is a three-part canon, but those parts aren’t strictly synchronized, which makes it a loose canon (someone had to do this). I had some more fun with my EBow on this piece, and I’m getting pretty good at hitting just the right amount and drawing back – before anything breaks. I also mixed up the guitars more than usual, using 6- and 12-strings as well as the fretless.
A live version of Sirens of Maya is the album’s pre-order bonus.
Transcending Memory features my Danelectro electric 12-string tuned to Alexander Scriabin‘s famous mystic chord. This piece was a lot of fun to record and should be a blast to play live. The 12-string lines carve out an eerie space, over a roaring processed singing bowl drone.
At This Body’s Final Hour closes out the album with a plaintive piano melody over a haunting synth-guitar blend, occasionally punctuated by a thumping bass drum and featuring a chorus of chanting voices (thanks to Dasi & Leyla for joining in). The instrumental track slows to half-speed over its 18 minutes.
So what’s with the album title, anyway?
Well, it goes something like this:
The album is dedicated to the memory of our longtime companions, Sandor Cat (who passed on two days after the performance with Royce & Tali), and his brother Kalman Cat, who left us two years later. Sandor’s six-week illness was a difficult time, and was hanging thick in the air when showtime rolled around.
So I wanted the album and track titles to convey something of the gravitas of the time. For me it sums up the material world, with us struggling our way through it. Fish out of water. A suitable continuation of themes ruminated upon in the Separate Ones album, this closes a circle in some ways. Other circles await.
I was also looking for something powerfully descriptive, like many of Dirk Serries‘ wonderful titles. I’m well aware of the cognitive dissonance of the word “disrepair” in this context – which is way more animé than I intend – and that it may at first be read as “despair”, which is way more “emo” than I intend, but anyway…
1. Fading Angel 9.41
2. Astral Drift 17.17
3. Sirens of Maya 12.55
4. Transcending Memory 15.55
5. At This Body’s Final Hour 18.04
Here is a preview clip, with highlights from all five pieces:
I hope you find the album enjoyable, and worth purchasing. Many thanks for your support!
This year’s composition and recording trajectory might best be described as an ellipse. The two focal points were (1) my two live shows in June and July, and (2) an 8-day recording blitz in August. Everything gravitated around those two periods.
I usually take advantage of the statutory holidays from January to May to spend time in The Keep, and that’s when much of a year’s composition work gets done. Somehow, that didn’t happen this year – but I’ll do my best to rectify that in ’16.
This year, it took the two summer performances to get my composition mojo going, with some surprising results. I started each show with a trio of solo guitar pieces, beginning with First Day Apart, and concluding with Fading Angel (which opens the next album, and which was born as a post-First Day Apart live improv), with a new improvisation in between.
Imagine my delight when the two performances, and two rehearsals, yielded three releasable versions of this new improv piece! It was clear at once that an album of solo guitar improvisations should be compiled, which is already nearly half-done. I’ll try one on the 12-string, and one on the fretless, and one on the mandolin…
My wife Dasi, whose photography graces the Divinations and Memory Palace albums, took a bunch of great photos of an early-November sky over Lake Michigan, with the color schemes changing constantly. So, artwork for the improv album is already in hand.
Another releasable artifact from these shows is a riotous version of Rebuild From Memory, which has cemented my resolve to put together a live album someday.
Dasi went camping with friends for two weeks in August. Thus freed from any obligation to keep our apartment fit for civilized habitation, I hunkered down in The Keep and recorded four pieces (about 65 minutes’ worth of music) in eight days. Three of them are for Album 4: Souls Adrift, in Disrepair.
The fourth piece is for a singer friend of mine, and I’ll put the finishing touches on that after she sends it back. That is simply going to be amazing. She’s a terrific singer whom I’ve wanted to work with since I discovered her ten years ago.
Another piece for the Souls Adrift album was written and mostly recorded a few weeks later, so only one piece remains to finish that album. It’s written and just needs to be recorded.
So… what’s the plan for 2016? The answer was somewhat simplified when, in the past few months, I made a critical decision that was a long time coming: after the albums in progress, all new solo work will be written in Just Intonation. A liner note on a Robert Rich album opened that door for me some years back, and I’m finally stepping through.
That has really tightened my focus, which is always a good thing. Some contemplated projects have necessarily fallen away. The Concerto for Ambient Orchestra, in which nearly a dozen of my peers had expressed interest in participating, will now be a solo project – hopefully before 2040…
Another project simply ran out of gas: the covers album I had planned since 2010. Hope remains for three of those pieces, though: one is Arvo Pärt’s Fratres, though I’m still struggling with trying to arrange it for one guitar. Some of those chord changes are simply crazy. The other – and more likely – one is… big secret. It’s going to be a riot, and probably a standalone release. Luckily for me, the original music is in the public domain now. The third one is another work in progress, which I hope will make it onto the live album.
All my dreams of classical prestige have bitten the dust, although if some ambitious string quartet or choir should take a shine to me…
Of course, collaborations will be exempt from the JI Directive. Chris Russell and I knew long ago that we wanted to make a second album. It won’t be Memory Palace II. That’s just a matter of finding one more burner on the stove. Another duo with a new collaborator is still at the hopeful stage.
So, 2016 will be mostly about finishing work in progress. Barring something unforeseen, Album 5 will be the Guitar Improv album, and Album 6 will be an initiation/journey story project, inspired by a workshop I played three years ago, which could grow to a double-CD. I entertain grandiose hopes of recording at least some of that in a large church (and using their pipe organ). Album 7 includes the collaboration with the singer, and maybe another guest artist or two. Those albums, hopefully culminating in a live release, will mark the end of a phase – my solo Equal-Temperament composition phase and, hopefully, my recording apprenticeship.
Hopefully before 2040… because the JI World is beckoning, and it promises to be even more exciting than everything that’s happened so far.
2015 was also a stellar year for hearing some of my musical heroes play live, and meeting them for the first time. That would be Steve Roach (twice), Robert Rich (whom I finally met properly at my third concert of his), and long-time Americana idols Eric Tingstad & Nancy Rumbel. Much gratitude for their endless inspiration.
I also got to hear prog-rock demigod Steve Hackett for the first time, a few weeks ago, and hope to do so again. I don’t listen to much rock anymore, but he’s always been one of the cats…
Happy 2016 to all!
My first of two live appearances for this summer was on June 20 at Chicago’s Sulzer Library Auditorium.
Definitely the best gig yet, a clear step forward.
This was the most well-rounded performance yet, with more keyboard parts, more layers, and some best-yet guitar zones.
As I did for the September 2012 events, I brought most of the gear this time: three guitars, synth controller, lots of percussion, a couple of ocarinas. I should post an studio inventory with lots of photos sometime; it’s kind of amusing, some of the weird things one can make use of.
Highlights were many. I’m especially pleased with the opening half-hour “farewell suite” of solo guitar pieces, so I expect to use this a lot in future. This is: First Day Apart, Intervening Age and Fading Angel. Both of the latter were born as improvs played immediately following First Day Apart (the first in rehearsal for this event, the second in concert in 2012), so the connection is really organic.
This day’s take on Rebuild From Memory was the best live one yet, even evoking soundscape pioneer Robert Fripp at times, and I’m working up technical ideas for ramping it up further…. inexorable evolution. This is definitely going on a future live album, unless it gets replaced by a better version.
I Am But a Fledgling… (part of the Dreamlife suite slated for an album-in-progress) was tons of fun, with ocarinas, lots of percussion, and a hair-raising synth bed. (My wife Dasi filmed most of the 19-minute piece, so we may be sharing some of that soon.) Haven, a solo synth piece which will open the same album, is a serene pleasure to play, which I hope to do many more times.
Four pieces were played live for the first time, including the massive Knife of Karma, Expanse of Heart (with Alannah’s voice clips), and Exquisite Divination of Patterns. I expect to keep playing these, hopefully take them to some new places, and release live versions if all goes well.
The increase in keyboard parts is a most pleasing development, as I’m trying to move in the direction of having a more balanced guitar-synth sound.
The “surprise cover piece” I promised was the Enya song Sumiregusa, with the two melodic lines from another song, Fallen Embers, woven in at the end. This 12-string arrangement went off really well. Too bad it’s owned by a major record label; I’m not optimistic about ever getting clearance to release it.
Here is a 24-minute highlights clip, culled from 9 pieces:
The audience was small but enthusiastic. Special thanks to our friends Lou & Sue, who really appreciate and support the music!
Next up: a report on the July 6 Daley Plaza event.
First Day Apart
Exquisite Divination of Patterns
Sirens of Maya
Knife of Karma
Rebuild From Memory
I Am But a Fledgling…
Expanse of Heart
Many thanks to John Shanahan (Hypnagogue) for his deep listening and enthusiastic review. The support of deep listeners like John means more to us than we can say!
John’s original post is here.
Me, upon receiving Memory Palace: “Excellent! A collaboration between two artists who do lovely, quiet stuff.” Me, after listening: “Wow! That was not what I expected!” Perhaps my expectation was skewed; both artists, Chris Russell and eyes cast down (aka Greg Moorcroft) do tend to work shades of darkness, hints of dissonance and touches of tribal into their individual work. But here, they ramp all that up into a pulse-driven, drum-loaded outing that still speaks most often in a restrained voice. Having called out another artist for adhering a bit closely to the Steve Roach model, I would note that bits of it show up here as well. The opener, “Primitive and Prime,” is familiar territory, pushed along on space-opening drum work from Moorcroft and wide, misty atmospheres from Russell. The influence is clear but the piece stands alone based on its deep groove and the deliciously hypnotic quality of the electronics. You get it again at the end of the disc with “Somewhere the Circle Stops,” which sounds much like a lost track from Roach’s Trance Spirits. Moorcroft takes the front here, weaving several drum lines into a complex and potent structure. Russell’s soundworlds here move as slow as incense smoke, soft washes that sometimes take on a growling, almost didgeridoo-like edge. Outside of that, while the influence still colors the proceedings, Russell and Moorcroft head off into their own zones. “Spatial Mnemonics” has an industrial clatter to it, all serving more of the kind of interlaced rhythms that are the centerpiece of the album. It’s a little dark, and it works. “Touchstone Array” is a fast-paced piece with an up-front analog feel. Glitchy snips of sound tap out a rapid-fire rhythm over slow pads for a nice contrast. However, my only complaint on the whole album comes from this track. The lads play with some high-pitched sounds, one of which sounds—to me—like a kid’s party favor bring blown in one ear over and over. Just like that, I’m pulled out of the track. (It’s playing as I type this out and, honestly, I just want to punch it.) Luckily, that passes and I let myself focus on the cool electronic rhythm work. “Afterimages” quiets things down with an ambient flow lightly touched with (I believe) rain sounds, shakers, and the lightest touch of percussion on the whole album. There’s a very cool effect late in the track where it rises up just a little—a nice touch. On these five tracks, the artists allow themselves a wide time frame in which to craft each piece; the two shortest run about 11 minutes each. Within that frame, they explore and codify their chemistry and justify their initial decision to challenge themselves to do a beat-based album. Memory Palace is an excellent deep listen; Russell and Moorcroft both love their details, and they are plentiful here, so dig into them. An excellent collaboration between two good artists. Well worth listening to.