Multi-instrumentalist Chlöe Herington has moved through the multi faceted likes of Chrome Hoof and Knifeworld before alighting at V Ä L V Ē, an opportunity for her, along with fellow Chrome Hoof alumnus Emma Sullivan, to explore more literary-minded and progressive ideas that don't necessarily fit into the various collaborations of which she is part.
Daily archives: 08/12/2023
5 posts
The EP spins out on Dorothy’s silvery words to a backdrop of softly brushed instrumentation, “Moon”’s cradling circadians bringing to mind the eerie elegance of Anaïs Nin’s poetics on Bells Of Atlantis, its dream-caught atmospherics cloudy with vaporous validation.
Working around found sounds and interweaving the thoughtful sentiments of her fellow players, pianist Russ Lossing and percussionist Satoshi Takeishi, so that it becomes a windswept and all-encompassing traipse across the city; taking in cafes, Métro stations, markets and more, enveloped by and embracing completely the quotidian city life that generates its own element of the soundtrack.
What's being reviewed here is two things: a book, Subcontinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972 , edited by Paul Purgas, and a record, The NID Tapes - Electronic Music From India 1969-72. The NID of the LP's title refers to the National Institute of Design, a home for electronic music within India of the late 1960s. The book is a more expansive look at electronic music in that era, and one is a taster for the other.
That heavy fug of distorted guitars will be familiar to any alternative fan of a certain age, but their way of weaving them together is warming and effective. With feet on pedals they push on as the vocals drawl and drip, melting into the lolloping '90s groove as stuttering solos burst out of the surf.