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FAR BLACK FURLONG - same

Format: CD / CDR Label & Cat.Number: Integrated Circuit Records ICR 65 / 66 Release Year: 2007 Note: Sehr poetischer Impro-Drone eines uns bisher unbekannten Kollektivs aus England, das meiste Material wurde im Freien auf akustischen Instrumenten eingespielt; einer limitierten Auflage von 150 Stück liegt das erste Album der Band ("HAIDD 2") in remixter Form bei, ein one-tracker Kleinod mit subtilen endlos entfernten Drones, melancholisch schimmernd... Price (incl. 19% VAT): €18.00 More Info Sehr poetischer Impro-Drone eines uns bisher unbekannten Kollektivs aus England, das meiste Material wurde im Freien auf akustischen Instrumenten eingespielt; einer limitierten Auflage von 150 Stück liegt das erste Album der Band ("HAIDD 2") in remixter Form bei, ein one-tracker Kleinod mit subtilen endlos entfernten Drones, melancholisch schimmernd... "Far Black Furlong' is a rapturous, symphonic work in six movements. The music describes tides - from the summer breeze through barley, to the shimmering stretch of a vast ocean extending to the shifting birth pangs of stars. Much of the music was recorded at outdoor locations - such as the barley fields of the Clun Forest - and is performed on acoustic instruments. FBF comprise of baroque oboist Mark Baigent, composer Richard Moult, dulcimer player John Letcher, the Candian flautist Amanda Votta (of the group The Floating World), Shropshire poet Bryony Lees, guitarist Ian Tengwall & Andy Cotterill on electronics. ’Haidd 2’ a beautiful 34 minute remix/reworking of their previous album." [label info] "... They are a band of oboist Mark Baigent, dulcimer player John Letcher, flautist Amanda Votta, guitarist Ian Tengwall, Andy Cotterill on electronics, along with composer Richard Moult and poet Bryony Lees. Outside in Clun Forest - and I mean outside - they performed much of this work, thus adding the outside world as part of the music. The six pieces, I am told, describes 'tides from the summer breeze through barley, to the shimmering stretch of a vast ocean extending to the shifting birth pages of stars'. It seems to me that the music is largely improvised but in a quiet and peaceful manner. Perhaps a little less modern classical than the Mouldycliff piece, although they get close. And in a good ICR (and Die Stadt) mode there is a limited CDR of music from the CD that is remix/reworked by Cotterill. Perhaps because he doesn't seem to be very present on the CD (or the electronics are save for some delay that is used), he gets his way in a full out treatment of the material, adding spooky electronics to the material, or perhaps feeding the material through electronics. Long sustaining sounds that sound a bit creepy like a wait for something veil and nasty to happen, which of course (spoiler coming up) doesn't happen. However the drone like character of this piece brings us back to the start of this review. ICR does drone music of an outstanding kind, but it's not at all exclusively to that, and offer various fresh views on the subject at hand." (FdW) www.icrdistribution.com