debut album from Jasper Leyland combines melodic drone structures
with deft acoustic manipulations and splashes of field recordings.
Following the ‘Capsize’ EP of August 2005, it marks
a significant progression in both his structural sophistication
and sound processing skills. As the five tracks unfold he moves
between a variety of instrumental sources, applying subtle digital
manipulation to craft dense organic compositions.
title track is made entirely from zither sounds, and slips from
weighty drones into a beatific haze of fine-grained loop treatments
and scattering plucks. A dense bed of field recording rustles then
emerges, effortlessly establishing the overcast menace of ‘Riseholme’.
This beautifully understated piece develops with satisfying sense
of restraint, as snaking synths intertwine with muted acoustic guitar
rhythms and crackling textures. These elements continually expand
and contract together before the track reaches its peak ten minutes
in. At this point the opening layers vanish into a glassy sheen
of processed melodica, which then simmers in a tense transitional
passage. Momentum gradually builds again as fragments of field recordings
flicker across the stereo field, triggering a tiny hiss-loop which
finally releases the remainder of the track. The piece then closes
on some elegantly free picked guitar flourishes.
can be seen as the culmination of a defined period in Brewster’s
progression so far as a composer. After finishing the ‘Capsize’
EP he had an extremely prolific 8 month period, honing his sound
and creating hours worth of potential album material. As he continued
the writing process many tracks were superseded and left by the
wayside, and a whole series of lengthy pieces finally led him to
of the album is ‘Lapse’, which sees a return to the
manipulated synth tones of the ‘Capsize’ EP. Here, however,
the same sound sources are deployed with a refined sense of textural
sophistication and conjured into an endless hall of mirrored pulses.
mood then takes hold for the remainder of the album. ‘Turned’
is a playful vignette of filtered acoustic guitar cut-ups and tumbling
found-sounds (the latter obtained on a Norfolk beach by burying
a microphone in pebbles and recording the results). ‘Prospect’
is a majestic 14 minute expanse of ebbing electric guitar resonance,
where rippling tones scatter thrillingly complex click patterns
in their wake. This closing piece conveys a sublimely melodic sense
of hope, evoking the first outlook across balmy waves to never-before-seen
comes in a black card sleeve with cover photograph by Cecilia Ek,
and is limited to 150 copies.
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