The Breath - Carry Your Kin 2016/2019

The Breath / Carry Your Kin

Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Издание: Deluxe edition
Год издания/переиздания диска: 2016/2019
Жанр: indie, folk, soul, blues, singer-songwriter
Издатель (лейбл): Real World Records
Продолжительность: 01:08:54
: Только обложка альбома
Треклист:

01 Harvest 04:49

02 Antwerp 04:22

03 For You 05:31

04 This Dance Is Over 04:54

05 Boat Song 06:21

06 The Toll 05:22

07 Carry Your Kin 05:26

08 Our Own Way 05:02

09 Tremelone 06:59

10 Child 05:18

11 Chilli Salt 04:46

12 The Toll (Live) 05:21

13 This Dance Is Over (Live) 04:37
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/44,1
Формат: PCM
Количество каналов: 2.0
Другие альбомы The Breath в хай-резе:
Доп. информация: //thebreathmusic/

Об исполнителях (рус.) | About Artists (ru)

Плодородная музыкальная сцена Манчестера славится своими выходцами. Основной движущей силой манчестерского проекта The Breath ('Дыхание') являются ирландская певица Риогнач Коннолли и гитарист Стюарт МакКаллум, стоявший у истоков The Cinematic Orchestra. Все три альбома The Breath - Carry Your Kin (2016), Let The Cards Fall (2018) и акустический Only Stories (Let The Cards Fall Revisited) (2019) - записаны на легендарной студии Питера Гэбриэла Real World Records. Мелогурманам предстоит окунуться в кристальный аромат ирландских народных течений, замешанных на завораживающих гитарных рифах, блюзе и фолк-роке. От бравурных гимнов - до сомнамбулических нашептываний в духе Cocteau Twins.
//soloneba/soloneba-favorite-world-music-albums-2016/

Об исполнителях (англ.) | About Artists (en)

Ríoghnach Connolly and Stuart McCallum are the creative heart of The Breath. And for them, it’s all about the song. Connolly writes the only way she knows how; a stream of poetic consciousness giving rise to honest, personal, heartfelt songs as likely to touch on childhood summers and first love as cultural dislocation, post-colonial injustices and grief. But it’s her deeply soulful, utterly engaging, stop-you-in-your-tracks voice -whether delicate and hushed or powerful and gutsy- coupled with Stuart’s understated brilliance and their exquisitely crafted songs, that give The Breath such emotional depth.
Let the Cards Fall -with pianist John Ellis, bassist Sam Vicary and drummer Luke Flowers- is the follow-up to their 2016 breakthrough album, Carry Your Kin. A bewitching collection of songs allowed to mature and breathe without losing the widescreen, multi-textured kaleidoscope of sound that marked their debut, while refining their trademark Manchester take on alt-folk.
realworldrecords/artists/the-breath/

Об альбоме (англ.) | About Album (en)
Cool, drifting ambient folk soul ... This is sophisticated, atmospheric music that veers between ambient and soul styles
THE GUARDIANStuart McCallum and Ríoghnach Connolly are such opposites in character and background that each is integral to the other. Their joint project, The Breath, is a miracle of integration. He is an urban guitarist from Manchester, former first call for Cinematic Orchestra (that’s him on Ma Fleur and Live at the Royal Albert Hall), and has written and arranged for legendary UK saxophonist John Surman and is particularly valued for his mastery of loops and effects. She is a singer and flutist from Armagh, and the voice of skewed barrel-house, folk-hop band, Honeyfeet: she guests on The Source, the new album from Afro Celt Sound System. He trades in groove-based music that marries funk, rock and rave in a post-modern style. She is rooted in rural community and prone to ancestor worship. Stuart anticipates a blissed future. Ríoghnach just wants to survive. And her lyrics pinpoint a way of life at the very moment it may not survive.
Her ancestors would recognise such savage passion. It finds an answering intensity in the big, big sound that McCallum carves to frame Connolly’s singing. The common element is raging catharsis.
A typical solo performance by Stuart McCallum will apply virtuosity and electronica in a diverting way. Looper technology is used to build the music layer by layer, overlaying embedded chords with skirling, fluid solos in an intricate sonic mesh. With access to a state-of-the-art recording studio, McCallum expands and extends this technique for the album. Again, sound is piled on top of sound, and each line is carefully sifted against the others, but the resources are so much greater. In effect, McCallum turns the studio into a giant looper. Carry Your Kin confronts with multiple Ríoghnachs and walls of guitars in ways that would be impossible to find in nature.
Yet Ríoghnach Connolly is so steeped in traditional music that purity is a transferable asset. She absorbed the old music in an Irish childhood full of summer schools and festivals. Music-making was definitely encouraged in the Connolly household. “I’m just going to County Clare for the week,” the teenage Ríoghnach would declare. “Good girl, go and learn lots of tunes!” would come the reply.
Stuart found Ríoghnach on the internet singing a song called ‘Knocking on Another Man’s Door’. By then she was living in Manchester. Keen to work with a singer, Stuart brought a raft of original songs from a previous collaborator for her to try. Rehearsal sessions took place in Ríoghnach’s kitchen and were divided between playing and cooking. Eventually her politeness about the songs broke down. (“I was polite back in them days, wasn’t I?” she asks. “I can’t remember, to be honest,” replies Stuart, noncommittally.) The old material was jettisoned, and the pair began to write together. It was sometimes a lengthy process: One song ‘Child’ (not on the album) took five years to evolve. And sometimes a song would arrive fully-formed. ‘For You’ was extemporised as the musicians jammed during a rowdy night at Manchester’s Matt and Phred’s club. Because the way Ríoghnach writes is so emotionally reckless - excavating raw feeling with little in the way of defence -the process is easier when nobody is listening.
She has a capacity to flay the emotions in a way which is all but unknown in these diminished times.
The key word in ‘Our Own Way’ is ‘bereft’. Bereft of what? The supporting evidence of the album’s title track ‘Carry Your Kin’ suggests that ‘bereft’ is used in its proper sense: true loss. This was a fact of life for child-besieged ancestors: children unborn, children dead in babyhood or infancy, children left helpless before man-made forces like famine or war. This kind of suffering is sometimes acknowledged in folk song (an honourable mention goes to Derroll Adams’ ‘Portland Town’) but is taboo in our mainstream culture. Kindertotenlieder could be an alternative title for some of these songs, but Mahler got there first, and anyway Ríoghnach prefers to stress survival and continuity.
Two other members are integral to The Breath. In his various roles of pianist, singer and producer, John Ellis has had a hand in much of the good music to emerge from Manchester in recent years. And drummer Luke Flowers embodies the true Manc spirit. Manchester music is always oriented towards rhythm (no matter the genre), and is full of pride and swagger. Stuart says of Luke: “He’s a great friend, someone I’ve probably played with more than anyone else in my life. There’s something very big about what he does. He has to project a big sound and drag everyone along on the Luke party bus. That’s how it is.”
Influences are trickier to pin down. Stuart mentions Debussy and Steve Reich, while admitting that The Breath sound nothing like them. “In terms of classical music, I always like the slow movement of pieces, where the emphasis is more on emotion and clarity of melodic ideas.” Ríoghnach diverts the question to reflect on Stuart’s influence on her. “You’ve made me sing softer. And you’ve made me sing with less ornamentation. And you’ve made me concentrate on the words, and the diction.”
“Well you did lots of things to hide away. You would shout at people, and then you would use ornamentation to hide melody, to make it less clear, and then you wouldn’t say t