(10507,1,'2014-09-04 03:17:47','2014-09-04 03:17:47','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Antonymes</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"220\" height=\"220\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong></p><p>The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>There Can Be No True Beauty Without Decay</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1056281027/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay\">There Can Be No True Beauty Without Decay by Antonymes</a></iframe><br /> October 2013</p><div> </div><p>In late 2009 Antonymes released Beauty Becomes the <em>Enemy of the Future</em> on Cathedral Transmissions of which the CD is now unavailable. Since then he has revisited the album, which has culminated a new release, <em>There Can Be No True Beauty Without Decay</em>. Hazeldine\'s own reworkings are intertwined with those of friends Ian Hawgood, Isnaj Dui, Offthesky, Field Rotation, Wil Bolton, Spheruleus and James Banbury to create an album of captivating melancholy and beauty. The guest reworkings venture into other, darker territories, where one might be harder pressed to identify the original material.  (Please note only the [i] tracks are available for licensing).</p><div> </div><div> </div><h4>Light Dispersed</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 300px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2513406585/size=large/bgcol=333333/linkcol=ffffff/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/light-dispersed\">Light Dispersed by Antonymes</a></iframe><br /> February 2012</p><div> </div><p>Originally released by Hibernate Recordings as a limited edition postcard CD. Recorded at The Lightbox, Hawarden, September 2010.<br /> Antonymes: Guitar, piano, shells, tambourine, prepared piano, organ, frequencies.</p><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe><br /> October 2011</p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Like Rumours Of Hushed Thunder</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 373px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1103442133/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/like-rumours-of-hushed-thunder\">Like Rumours Of Hushed Thunder by Antonymes</a></iframe><br /> May 2011</p><p>Recorded between Christmas day and new year\'s eve 2011 using:</p><p>Steingraeber 130 upright piano.<br /> Audio Technica AT4033 microphone.<br /> Lexicon reverb.<br /> Cheap violin.<br /> Voice.</p><p>This album has been mastered to retain dynamics, not to enhance loudness.  To appreciate these pieces fully, please adjust your volume accordingly or use headphones.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe><br /> May 2011</p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe><br /> April 2011</p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.</p><div> </div><div> </div><h4>31: Before The Light Fails</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 772px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4084737592/size=large/bgcol=333333/linkcol=ffffff/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/31-before-the-light-fails\">31: Before The Light Fails by Antonymes</a></iframe><br /> March 2010</p><div> </div><p><em>31: Before The Light Fails Pt.1</em> is a personal photographic diary for May 2010, a reminder of day to day activities throughout a fairly ordinary and typical month in Antonymes\' life. Includes two high quality 35 page PDF booklets, part 1 with 31 black and white photographs. Part 2 with 31 colour photographs, a 4.0 surround sound file of both parts mixed together and Quicktime video.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming.</p><p>Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a></p><p><em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8222,8221,8220,8219,10501\"]<p><br /> [/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p><iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Antonymes\' music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Antonymes','','inherit','closed','closed','','8572-revision-v1','','','2014-09-04 03:17:47','2014-09-04 03:17:47','',8572,'http://www.hiddenshoal.com/8572-revision-v1/',0,'revision','',0),(10508,1,'2014-09-04 03:22:41','2014-09-04 03:22:41','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Antonymes</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"220\" height=\"220\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong></p><p>The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>There Can Be No True Beauty Without Decay</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1056281027/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay\">There Can Be No True Beauty Without Decay by Antonymes</a></iframe><br /> October 2013</p><div> </div><p>In late 2009 Antonymes released Beauty Becomes the <em>Enemy of the Future</em> on Cathedral Transmissions of which the CD is now unavailable. Since then he has revisited the album, which has culminated a new release, <em>There Can Be No True Beauty Without Decay</em>. Hazeldine\'s own reworkings are intertwined with those of friends Ian Hawgood, Isnaj Dui, Offthesky, Field Rotation, Wil Bolton, Spheruleus and James Banbury to create an album of captivating melancholy and beauty. The guest reworkings venture into other, darker territories, where one might be harder pressed to identify the original material.  (Please note only the [i] tracks are available for licensing).</p><div> </div><div> </div><h4>Light Dispersed</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2513406585/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/light-dispersed\">Light Dispersed by Antonymes</a></iframe><br /> February 2012</p><div> </div><p>Originally released by Hibernate Recordings as a limited edition postcard CD. Recorded at The Lightbox, Hawarden, September 2010.<br /> Antonymes: Guitar, piano, shells, tambourine, prepared piano, organ, frequencies.</p><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don&#39;t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe><br /> October 2011</p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Like Rumours Of Hushed Thunder</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 373px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1103442133/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/like-rumours-of-hushed-thunder\">Like Rumours Of Hushed Thunder by Antonymes</a></iframe><br /> May 2011</p><p>Recorded between Christmas day and new year\'s eve 2011 using:</p><p>Steingraeber 130 upright piano.<br /> Audio Technica AT4033 microphone.<br /> Lexicon reverb.<br /> Cheap violin.<br /> Voice.</p><p>This album has been mastered to retain dynamics, not to enhance loudness.  To appreciate these pieces fully, please adjust your volume accordingly or use headphones.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 185px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe><br /> May 2011</p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe><br /> April 2011</p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.</p><div> </div><div> </div><h4>31: Before The Light Fails</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4084737592/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/31-before-the-light-fails\">31: Before The Light Fails by Antonymes</a></iframe><br /> March 2010</p><div> </div><p><em>31: Before The Light Fails Pt.1</em> is a personal photographic diary for May 2010, a reminder of day to day activities throughout a fairly ordinary and typical month in Antonymes\' life. Includes two high quality 35 page PDF booklets, part 1 with 31 black and white photographs. Part 2 with 31 colour photographs, a 4.0 surround sound file of both parts mixed together and Quicktime video.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming.</p><p>Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a></p><p><em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8222,8221,8220,8219,10501\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p><iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Antonymes\' music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Antonymes','','inherit','closed','closed','','8572-revision-v1','','','2014-09-04 03:22:41','2014-09-04 03:22:41','',8572,'http://www.hiddenshoal.com/8572-revision-v1/',0,'revision','',0),(10509,1,'2014-09-04 03:23:47','2014-09-04 03:23:47','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Antonymes</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"220\" height=\"220\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong></p><p>The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>There Can Be No True Beauty Without Decay</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 600px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1056281027/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay\">There Can Be No True Beauty Without Decay by Antonymes</a></iframe><br /> October 2013</p><div> </div><p>In late 2009 Antonymes released Beauty Becomes the <em>Enemy of the Future</em> on Cathedral Transmissions of which the CD is now unavailable. Since then he has revisited the album, which has culminated a new release, <em>There Can Be No True Beauty Without Decay</em>. Hazeldine\'s own reworkings are intertwined with those of friends Ian Hawgood, Isnaj Dui, Offthesky, Field Rotation, Wil Bolton, Spheruleus and James Banbury to create an album of captivating melancholy and beauty. The guest reworkings venture into other, darker territories, where one might be harder pressed to identify the original material.  (Please note only the [i] tracks are available for licensing).</p><div> </div><div> </div><h4>Light Dispersed</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2513406585/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/light-dispersed\">Light Dispersed by Antonymes</a></iframe><br /> February 2012</p><div> </div><p>Originally released by Hibernate Recordings as a limited edition postcard CD. Recorded at The Lightbox, Hawarden, September 2010.<br /> Antonymes: Guitar, piano, shells, tambourine, prepared piano, organ, frequencies.</p><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe><br /> October 2011</p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Like Rumours Of Hushed Thunder</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 373px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1103442133/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/like-rumours-of-hushed-thunder\">Like Rumours Of Hushed Thunder by Antonymes</a></iframe><br /> May 2011</p><p>Recorded between Christmas day and new year\'s eve 2011 using:</p><p>Steingraeber 130 upright piano.<br /> Audio Technica AT4033 microphone.<br /> Lexicon reverb.<br /> Cheap violin.<br /> Voice.</p><p>This album has been mastered to retain dynamics, not to enhance loudness.  To appreciate these pieces fully, please adjust your volume accordingly or use headphones.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 185px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe><br /> May 2011</p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe><br /> April 2011</p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.</p><div> </div><div> </div><h4>31: Before The Light Fails</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4084737592/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/31-before-the-light-fails\">31: Before The Light Fails by Antonymes</a></iframe><br /> March 2010</p><div> </div><p><em>31: Before The Light Fails Pt.1</em> is a personal photographic diary for May 2010, a reminder of day to day activities throughout a fairly ordinary and typical month in Antonymes\' life. Includes two high quality 35 page PDF booklets, part 1 with 31 black and white photographs. Part 2 with 31 colour photographs, a 4.0 surround sound file of both parts mixed together and Quicktime video.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming.</p><p>Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a></p><p><em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"8222,8221,8220,8219,10501\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p><iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Antonymes\' music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Antonymes','','inherit','closed','closed','','8572-revision-v1','','','2014-09-04 03:23:47','2014-09-04 03:23:47','',8572,'http://www.hiddenshoal.com/8572-revision-v1/',0,'revision','',0),(11595,1,'2014-12-27 00:28:31','2014-12-26 16:28:31','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"220\" height=\"220\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong>\r\n\r\nThe music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>There Can Be No True Beauty Without Decay</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 610px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1056281027/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay\">There Can Be No True Beauty Without Decay by Antonymes</a></iframe>\r\nOctober 2013\r\n<div></div>\r\nIn late 2009 Antonymes released Beauty Becomes the <em>Enemy of the Future</em> on Cathedral Transmissions of which the CD is now unavailable. Since then he has revisited the album, which has culminated a new release, <em>There Can Be No True Beauty Without Decay</em>. Hazeldine\'s own reworkings are intertwined with those of friends Ian Hawgood, Isnaj Dui, Offthesky, Field Rotation, Wil Bolton, Spheruleus and James Banbury to create an album of captivating melancholy and beauty. The guest reworkings venture into other, darker territories, where one might be harder pressed to identify the original material.  (Please note only the [i] tracks are available for licensing).\r\n<div></div>\r\n<div></div>\r\n<h4>Light Dispersed</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2513406585/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/light-dispersed\">Light Dispersed by Antonymes</a></iframe>\r\nFebruary 2012\r\n<div></div>\r\nOriginally released by Hibernate Recordings as a limited edition postcard CD. Recorded at The Lightbox, Hawarden, September 2010.\r\nAntonymes: Guitar, piano, shells, tambourine, prepared piano, organ, frequencies.\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\nOctober 2011\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Like Rumours Of Hushed Thunder</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 373px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1103442133/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/like-rumours-of-hushed-thunder\">Like Rumours Of Hushed Thunder by Antonymes</a></iframe>\r\nMay 2011\r\n\r\nRecorded between Christmas day and new year\'s eve 2011 using:\r\n\r\nSteingraeber 130 upright piano.\r\nAudio Technica AT4033 microphone.\r\nLexicon reverb.\r\nCheap violin.\r\nVoice.\r\n\r\nThis album has been mastered to retain dynamics, not to enhance loudness.  To appreciate these pieces fully, please adjust your volume accordingly or use headphones.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 185px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\nMay 2011\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\nApril 2011\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.\r\n<div></div>\r\n<div></div>\r\n<h4>31: Before The Light Fails</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4084737592/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/31-before-the-light-fails\">31: Before The Light Fails by Antonymes</a></iframe>\r\nMarch 2010\r\n<div></div>\r\n<em>31: Before The Light Fails Pt.1</em> is a personal photographic diary for May 2010, a reminder of day to day activities throughout a fairly ordinary and typical month in Antonymes\' life. Includes two high quality 35 page PDF booklets, part 1 with 31 black and white photographs. Part 2 with 31 colour photographs, a 4.0 surround sound file of both parts mixed together and Quicktime video.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming.\r\n\r\nDebut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a>\r\n\r\n<em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219,10501\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes\' music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Antonymes','','inherit','closed','closed','','8572-revision-v1','','','2014-12-27 00:28:31','2014-12-26 16:28:31','',8572,'http://www.hiddenshoal.com/8572-revision-v1/',0,'revision','',0),(10510,1,'2014-09-04 03:24:38','2014-09-04 03:24:38','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<br />\r\n<h1>Antonymes</h1>\r\n<p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"220\" height=\"220\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong></p>\r\n<p>The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it.</p>\r\n<p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>There Can Be No True Beauty Without Decay</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 610px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1056281027/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/there-can-be-no-true-beauty-without-decay\">There Can Be No True Beauty Without Decay by Antonymes</a></iframe><br /> October 2013</p><div> </div><p>In late 2009 Antonymes released Beauty Becomes the <em>Enemy of the Future</em> on Cathedral Transmissions of which the CD is now unavailable. Since then he has revisited the album, which has culminated a new release, <em>There Can Be No True Beauty Without Decay</em>. Hazeldine\'s own reworkings are intertwined with those of friends Ian Hawgood, Isnaj Dui, Offthesky, Field Rotation, Wil Bolton, Spheruleus and James Banbury to create an album of captivating melancholy and beauty. The guest reworkings venture into other, darker territories, where one might be harder pressed to identify the original material.  (Please note only the [i] tracks are available for licensing).</p><div> </div><div> </div><h4>Light Dispersed</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2513406585/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/light-dispersed\">Light Dispersed by Antonymes</a></iframe><br /> February 2012</p><div> </div><p>Originally released by Hibernate Recordings as a limited edition postcard CD. Recorded at The Lightbox, Hawarden, September 2010.<br /> Antonymes: Guitar, piano, shells, tambourine, prepared piano, organ, frequencies.</p><div> </div><div> </div><h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe><br /> October 2011</p><div> </div><p><em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.</p><div> </div><div> </div><h4>Like Rumours Of Hushed Thunder</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 373px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1103442133/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/like-rumours-of-hushed-thunder\">Like Rumours Of Hushed Thunder by Antonymes</a></iframe><br /> May 2011</p><p>Recorded between Christmas day and new year\'s eve 2011 using:</p><p>Steingraeber 130 upright piano.<br /> Audio Technica AT4033 microphone.<br /> Lexicon reverb.<br /> Cheap violin.<br /> Voice.</p><p>This album has been mastered to retain dynamics, not to enhance loudness.  To appreciate these pieces fully, please adjust your volume accordingly or use headphones.</p><div> </div><div> </div><h4>Lost In Waves of Light</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 185px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe><br /> May 2011</p><div> </div><p>Created from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.</p><div> </div><div> </div><h4>The Licence To Interpret Dreams</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe><br /> April 2011</p><div> </div><p><span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.</p><div> </div><div> </div><h4>31: Before The Light Fails</h4><div> </div><p><iframe style=\"border: 0; width: 600px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4084737592/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/31-before-the-light-fails\">31: Before The Light Fails by Antonymes</a></iframe><br /> March 2010</p><div> </div><p><em>31: Before The Light Fails Pt.1</em> is a personal photographic diary for May 2010, a reminder of day to day activities throughout a fairly ordinary and typical month in Antonymes\' life. Includes two high quality 35 page PDF booklets, part 1 with 31 black and white photographs. Part 2 with 31 colour photographs, a 4.0 surround sound file of both parts mixed together and Quicktime video.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<br />\r\n<h3>Biography</h3>\r\n<p>Antonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming.</p>\r\n<p>Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011.</p>\r\n[/et_pb_tab][et_pb_tab title=\"News\"]<br />\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<br />\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<br />\r\n<h3>Press Releases</h3>\r\n<p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a></p>\r\n<p><em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em></p>\r\n<p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a></p>\r\n<p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a></p>\r\n<p><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a></p>\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]<br />\r\n<h3>Artist Photos</h3>\r\n<p> </p>\r\n[gallery ids=\"8222,8221,8220,8219,10501\"][/et_pb_tab][et_pb_tab title=\"Video\"]<br />\r\n<h3>Music Videos</h3>\r\n<p><iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>\r\n<p><iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]<br />\r\n<h3>Licensing</h3>\r\n<p>Antonymes\' music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Antonymes','','inherit','closed','closed','','8572-revision-v1','','','2014-09-04 03:24:38','2014-09-04 03:24:38','',8572,'http://www.hiddenshoal.com/8572-revision-v1/',0,'revision','',0),(10511,1,'2014-09-04 04:23:01','2014-09-04 04:23:01','<img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"194\" height=\"194\" />We are extremely excited to announce the signing of <a title=\"Antonymes\" href=\"http://www.hiddenshoal.com/project/antonymes/\">Antonymes</a>\' back catalogue to the Hidden Shoal Publishing catalogue. Antonymes’ full range of stunning works will now be available for <a href=\"http://www.hiddenshoal.com/licensing/\">licensing</a> through Hidden Shoal.\r\n\r\nAntonymes is designer, photographer and musician Ian M. Hazeldine, based in the wilds of North Wales. The music of Antonymes emerges from the adjustments and erasures of neo-classical, ambient and minimalism, and is by its very nature cinematic, engaging, and deeply emotive. His work has been released on such labels as <a title=\"Hibernate\" href=\"http://hibernate-recs.co.uk/\" target=\"_blank\">Hibernate</a>, <a title=\"Time Released Sound\" href=\"http://timereleasedsound.com/\" target=\"_blank\">Time Released Sound</a>, <a title=\"Cathedral Transmissions\" href=\"http://www.cathedraltransmissions.com/\" target=\"_blank\">Cathedral Transmissions</a>, <a title=\"Soundcolours\" href=\"http://www.beatport.com/label/soundcolours/8391\" target=\"_blank\">Soundcolours</a> and, of course, Hidden Shoal, and has recently featured on the Floyd Mayweather documentary <a title=\"30 Days In May\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\"><i>30 Days In May</i></a> (Showtime), as well as numerous BBC productions.\r\n\r\nStream and purchase Antonymes\' releases and read more about the artist <a title=\"Antonymes\" href=\"http://www.hiddenshoal.com/project/antonymes/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/106258712&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Hidden Shoal Signs Antonymes Back Catalogue','','publish','closed','closed','','hidden-shoal-signs-antonymes-back-catalogue','','','2016-02-03 16:48:37','2016-02-03 08:48:37','',0,'http://www.hiddenshoal.com/?p=10511',0,'post','',0),(10512,1,'2014-09-04 03:35:29','2014-09-04 03:35:29','We are extremely excited to announce the signing of Antonymes\' (aka Ian Hazeldine) back catalogue to the Hidden Shoal Publishing catalogue. Antonymes full range of stunning works will now be available for licensing through Hidden Shoal. Hazeldine released his','Hidden Shoal Signs Antonymes Back Catalogue','','inherit','closed','closed','','10511-revision-v1','','','2014-09-04 03:35:29','2014-09-04 03:35:29','',10511,'http://www.hiddenshoal.com/10511-revision-v1/',0,'revision','',0),(10513,1,'2014-09-04 03:36:20','2014-09-04 03:36:20','We are extremely excited to announce the signing of Antonymes\' (aka Ian Hazeldine) back catalogue to the Hidden Shoal Publishing catalogue. Antonymes full range of stunning works will now be available for <a title=\"Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">licensing</a> through Hidden Shoal. Hazeldine released his','Hidden Shoal Signs Antonymes Back Catalogue','','inherit','closed','closed','','10511-revision-v1','','','2014-09-04 03:36:20','2014-09-04 03:36:20','',10511,'http://www.hiddenshoal.com/10511-revision-v1/',0,'revision','',0),(10514,1,'2014-09-04 04:19:48','2014-09-04 04:19:48','<img class=\"alignleft  wp-image-10495\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/2014-Portrait-300x300.jpeg\" alt=\"Antonymes\" width=\"194\" height=\"194\" />We are extremely excited to announce the signing of <a title=\"Antonymes\" href=\"http://www.hiddenshoal.com/project/antonymes/\">Antonymes</a>\' back catalogue to the Hidden Shoal Publishing catalogue. Antonymes’ full range of stunning works will now be available for <a href=\"http://www.hiddenshoal.com/licensing/\">licensing</a> through Hidden Shoal.\r\n\r\nAntonymes is designer, photographer and musician Ian M. Hazeldine, based in the wilds of North Wales. The music of Antonymes emerges from the adjustments and erasures of neo-classical, ambient and minimalism, and is by its very nature cinematic, engaging, and deeply emotive. His work has been released on such labels as <a title=\"Hibernate\" href=\"http://hibernate-recs.co.uk/\" target=\"_blank\">Hibernate</a>, <a title=\"Time Released Sound\" href=\"http://timereleasedsound.com/\" target=\"_blank\">Time Released Sound</a>, <a title=\"Cathedral Transmissions\" href=\"http://www.cathedraltransmissions.com/\" target=\"_blank\">Cathedral Transmissions</a>, <a title=\"Soundcolours\" href=\"http://www.beatport.com/label/soundcolours/8391\" target=\"_blank\">Soundcolours</a> and, of course, Hidden Shoal, and has recently featured on the Floyd Mayweather documentary <a title=\"30 Days In May\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\"><i>30 Days In May</i></a> (Showtime), as well as numerous BBC productions.\r\n\r\nStream and purchase Antonymes\' releases and read more about the artist <a title=\"Antonymes\" href=\"http://www.hiddenshoal.com/project/antonymes/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/106258712&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Hidden Shoal Signs Antonymes Back Catalogue','','inherit','closed','closed','','10511-revision-v1','','','2014-09-04 04:19:48','2014-09-04 04:19:48','',10511,'http://www.hiddenshoal.com/10511-revision-v1/',0,'revision','',0),(10515,1,'2014-09-05 09:14:52','2014-09-05 09:14:52','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Chloë March</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Chloe-2016-1000px.jpg\"><img class=\"alignleft  wp-image-14219\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Chloe-2016-1000px-300x300.jpg\" alt=\"Chloe March\" width=\"246\" height=\"246\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nOft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n<a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> <a href=\"https://geo.itunes.apple.com/au/artist/chloe-march/id47255965?at=11lRii&amp;mt=1&amp;app=music\"><img class=\"alignnone size-full wp-image-12412\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2015/05/badge_itunes-sm.png\" alt=\"iTunes\" width=\"44\" height=\"15\" /></a>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n&nbsp;\r\n<h4>Sennen (Single)</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1869261660/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/track/sennen\">sennen by Chloë March</a></iframe>\r\nMarch 2017\r\n\r\n\'Sennen\' is the first taste of the new album by English dream-pop artist Chloë March, scheduled for release later in the year. The song is another stunning exercise in atmosphere and melody, all held together by March\'s unmistakably honey-glazed vocals. In her own words,\r\n\r\n\"I love watching or being in the sea when it’s raining and this track is inspired by that sensory experience. I wanted to get a sense of that hypnotic state induced by the waves and the falling rain and that hazy, misty light that can be quite hallucinatory.\"\r\n\r\n&nbsp;\r\n<h4>The Orpheus Pavement</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2106000878/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/the-orpheus-pavement\">The Orpheus Pavement by Chloë March</a></iframe>\r\nMarch 14 2016\r\n\r\n<i>The Orpheus Pavement </i>is the new six-track EP by English artist Chloë March, featuring new song ‘The Orpheus Pavement’, along with two originals from her acclaimed album <i>Nights Bright Days </i>and three remixes (by Lvmark, Sam Atkin, and Chloë March). <i>The Orpheus Pavement</i> is dreamy, slow-motion pop music, pulsating with sensuality. Listening to the EP feels like surreptitiously ingesting laudanum and wandering half-dazed through a secret garden that’s slowly shifting and warping around you. As with so much of Chloë March’s work, it was inspired by the mythical – the largest Roman mosaic ever found in Britain, which depicts Orpheus charming nymphs, tigers and other creatures with his songs. In this instance, the story is just the start, as March’s compositions bloom from reverberating piano and voice into evocative soundworlds that contain multitudes. Two of the songs are further transformed by remixers Lvmark, Sam Atkin, and March herself, into shimmering refractions of their former selves. <a title=\"Lvmark\" href=\"https://soundcloud.com/lvmark\" target=\"_blank\">Lvmark </a>is an electronic music producer hailing from Northern Sweden, drawing influence from the isolation and vastness of his homeland to create echoing electronica. <a title=\"Sam Atkin\" href=\"http://samatkin.bandcamp.com/\" target=\"_blank\">Sam Atkin</a> is a Fremantle-based ambient and experimental producer operating out of his shed-bedroom, who released his debut album <i>Gently, Quietly</i> in 2015 through Workplace Safety CDRs, and has been keeping it slow and sad ever since.\r\n<h4>To Set The River On Fire</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1811294613/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/to-set-the-river-on-fire\">To Set The River On Fire by Chloe March vs. Markus Mehr</a></iframe>\r\nFebruary 2015\r\n\r\nThe new EP release To Set The River On Fire opens a window into a new universe of possibilities: Hidden Shoal artists remixing each other’s music. In the first of what we hope will become an ongoing series, English dream-pop artist Chloë March takes on a track from the latest album by German experimentalist Markus Mehr – and vice versa. Listening to ‘Buoy (Chloë March Remix)’ feels like watching Chloë March creep tentatively into Markus Mehr’s shadowy soundworld, casting her radiant voice around the room like torchlight. While on ‘Ember (Markus Mehr Remix)’, the original’s beautifully simple arrangement for voice and piano is trapped within a hall of industrial-sized mirrors, anxiously roving around in search of escape. Each remix complements the other, masterfully re-interpreting the source material while inviting fresh listens to the original.\r\n<h4>Nights Bright Days</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=352680896/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/nights-bright-days\">Nights Bright Days by Chloë March</a></iframe>\r\nNovember 2014\r\n\r\nAlthough often compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own unique path, writing, engineering and producing from her studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences on <em>Nights Bright Days</em> to create poetic, emotionally charged and atmospheric songs and soundworlds. Four years in the making and originally self-released in 2013, <em>Nights Bright Days</em> is a cycle of songs as dreams, imbued with imagery of darkness and light, night and day. The album embraces elements of jazz, classical, folk and dream-pop, and features guest musicians on bass clarinet, soprano sax, French horn and guitar. <em>Nights Bright Days</em> features single ‘Winter Deep’, a shimmering waltz that opens the album with weightless grace.The Hidden Shoal re-release also includes the bonus digital EP <em>Under The Day</em> which features six previously un-released tracks.\r\n<h4>Under The Day</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852980130/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/under-the-day\">Under The Day by Chloë March</a></iframe>\r\nNovember 2014\r\n\r\nA set of daydreams that form a miniature B-side to the album <em>Nights Bright Days</em>, this is a collection of six songs including the piano ballad ‘May’ and the dream-folk synth/harp reverie for the oldest tree in Kew Gardens ‘Old Tree, Mon Coeur’ that garnered Chloë Soundclouder of the Day earlier in 2014 - ‘Dreamy voice… A magical atmospheric song’. The new songs on this EP include ‘Ballooniad’ inspired by tales of the early Balloonists lifting off from coastal cliffs, a dreamily buoyant track tethered to a circling bass and ‘Big Tree Engine’ a minimalist reflection centred around deep jazz-inflected piano chords inspired by an ancient tree in central London.\r\n<h4>Politik</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe>\r\nJuly 2012\r\n\r\nChloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.\r\n<h4>Garden On The Boulevard</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe>\r\nNovember 2009\r\n\r\n<em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.\r\n<h4>Divining</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe>\r\nNovember 2008\r\n\r\nChloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.\r\n<div>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</div>\r\n&nbsp;\r\n<h4>Snowdrop</h4>\r\n<iframe style=\"border: 0; width: 500px; height: 439px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=335688940/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/snowdrop\">Snowdrop by Chloë March</a></iframe>\r\nNovember 2004\r\n\r\nChloë March\'s first album includes pared-down ballads for piano and voice and her first explorations into more epic, multi-layered highly evocative soundworlds. <em>\"Sophisticated songwriting... a trace of David Sylvian\'s jazz-tinted sound...The utterly gorgeous melody and March\'s singing are exceptional. Snowdrop is a thing of beauty.\"</em> - <strong>Collected Sounds</strong>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nChloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.\r\n\r\nInspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=chloe-march-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a title=\"Nights Bright Days Press Release\" href=\"http://www.hiddenshoal.com/publicity/chloe-march/Chloe_March-Nights_Bright_Days-Press_Release.pdf\">Nights Bright Days Re-Release</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"10523,14219,10524,10525,10526\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"https://www.youtube.com/embed/_tJHFgi6FXM?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"https://www.youtube.com/embed/p9P5ruVwdN4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"https://www.youtube.com/embed/UDmvHmMWV6o?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nChloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloë March','','publish','closed','closed','','chloe-march','','','2017-03-30 13:50:54','2017-03-30 05:50:54','',0,'http://www.hiddenshoal.com/?post_type=project&#038;p=10515',0,'project','',0),(13009,1,'2015-09-18 10:24:49','2015-09-18 02:24:49','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Chloë March</h1>\r\n<img class=\"alignleft wp-image-10520 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nOft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> [/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>To Set The River On Fire</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 274px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1811294613/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://hiddenshoal.bandcamp.com/album/to-set-the-river-on-fire\">To Set The River On Fire by Chloe March vs. Markus Mehr</a></iframe>\r\nFebruary 2015\r\n<div></div>\r\nThe new EP release To Set The River On Fire opens a window into a new universe of possibilities: Hidden Shoal artists remixing each other’s music. In the first of what we hope will become an ongoing series, English dream-pop artist Chloë March takes on a track from the latest album by German experimentalist Markus Mehr – and vice versa. Listening to ‘Buoy (Chloë March Remix)’ feels like watching Chloë March creep tentatively into Markus Mehr’s shadowy soundworld, casting her radiant voice around the room like torchlight. While on ‘Ember (Markus Mehr Remix)’, the original’s beautifully simple arrangement for voice and piano is trapped within a hall of industrial-sized mirrors, anxiously roving around in search of escape. Each remix complements the other, masterfully re-interpreting the source material while inviting fresh listens to the original.\r\n<div></div>\r\n<div></div>\r\n<h4>Nights Bright Days</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=352680896/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/nights-bright-days\">Nights Bright Days by Chloë March</a></iframe>\r\nNovember 2014\r\n<div></div>\r\nAlthough often compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own unique path, writing, engineering and producing from her studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences on <em>Nights Bright Days</em> to create poetic, emotionally charged and atmospheric songs and soundworlds. Four years in the making and originally self-released in 2013, <em>Nights Bright Days</em> is a cycle of songs as dreams, imbued with imagery of darkness and light, night and day. The album embraces elements of jazz, classical, folk and dream-pop, and features guest musicians on bass clarinet, soprano sax, French horn and guitar. <em>Nights Bright Days</em> features single ‘Winter Deep’, a shimmering waltz that opens the album with weightless grace.The Hidden Shoal re-release also includes the bonus digital EP <em>Under The Day</em> which features six previously un-released tracks.\r\n<div></div>\r\n<div></div>\r\n<h4>Under The Day</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852980130/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/under-the-day\">Under The Day by Chloë March</a></iframe>\r\nNovember 2014\r\n<div></div>\r\nA set of daydreams that form a miniature B-side to the album <em>Nights Bright Days</em>, this is a collection of six songs including the piano ballad ‘May’ and the dream-folk synth/harp reverie for the oldest tree in Kew Gardens ‘Old Tree, Mon Coeur’ that garnered Chloë Soundclouder of the Day earlier in 2014 - ‘Dreamy voice… A magical atmospheric song’. The new songs on this EP include ‘Ballooniad’ inspired by tales of the early Balloonists lifting off from coastal cliffs, a dreamily buoyant track tethered to a circling bass and ‘Big Tree Engine’ a minimalist reflection centred around deep jazz-inflected piano chords inspired by an ancient tree in central London.\r\n<div></div>\r\n<div></div>\r\n<h4>Politik</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe>\r\nJuly 2012\r\n<div></div>\r\nChloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.\r\n<div></div>\r\n<div></div>\r\n<h4>Garden On The Boulevard</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe>\r\nNovember 2009\r\n<div></div>\r\n<em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.\r\n<div></div>\r\n<div></div>\r\n<h4>Divining</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe>\r\nNovember 2008\r\n<div></div>\r\nChloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.\r\n<div>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</div>\r\n<div></div>\r\n<h4>Snowdrop</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 439px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=335688940/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/snowdrop\">Snowdrop by Chloë March</a></iframe>\r\nNovember 2004\r\n<div></div>\r\nChloë March\'s first album includes pared-down ballads for piano and voice and her first explorations into more epic, multi-layered highly evocative soundworlds. <em>\"Sophisticated songwriting... a trace of David Sylvian\'s jazz-tinted sound...The utterly gorgeous melody and March\'s singing are exceptional. Snowdrop is a thing of beauty.\"</em> - <strong>Collected Sounds</strong>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nChloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.\r\n\r\nInspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=chloe-march-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a title=\"Nights Bright Days Press Release\" href=\"http://www.hiddenshoal.com/publicity/chloe-march/Chloe_March-Nights_Bright_Days-Press_Release.pdf\">Nights Bright Days Re-Release</a>\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"https://www.youtube.com/embed/p9P5ruVwdN4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nChloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloë March','','inherit','closed','closed','','10515-revision-v1','','','2015-09-18 10:24:49','2015-09-18 02:24:49','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10516,1,'2014-09-05 09:14:53','2014-09-05 09:14:53','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Antonymes</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft wp-image-6978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1-300x300.jpg\" alt=\"Antonymes\" width=\"250\" height=\"250\" /></a><em>“sound sketches of enormous, if fragile, beauty”</em> –<strong> The Silent Ballet </strong> The music of Antonymes emerges from the adjustments and erasures of ambient and the pace and persistence of minimalism; from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd; from the relationship between continuity and repetition; from secrecy, quietness and pause; from thought, from emptiness; from where it is set and where it is setting off to. At the same time definite and a ghostly impression, Antonymes floats free of fixed points while anxiously staying in sight of genres, movements, scenes, connections, contexts and innovations that have piled up and broken down around it. <strong><a title=\"Facebook\" href=\"https://www.facebook.com/pages/Antonymes/108567235841143?fref=ts\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8763\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/Antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8766\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/antonymes\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8764\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.antonymes.co.uk/\" target=\"_blank\"><img class=\"alignnone size-full wp-image-8767\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>We Don\'t Look Back For Very Long (with Slow Dancing Society)</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 274px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4290771882/size=large/bgcol=333333/linkcol=ffffff/artwork=none/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/we-dont-look-back-for-very-long\">We Don\'t Look Back For Very Long by Antonymes meets Slow Dancing Society</a></iframe>\r\n<div></div>\r\n<em>We Don’t Look Back For Very Long </em>sees Antonymes reworking a track from each of fellow Hidden Shoal artist Slow Dancing Society’s four albums, casting radiant new light on the stunning originals. Across almost 30 minutes, Antonymes marries SDS’s glistening atmospheres to his own trademark ambient neo-classical minimalism, creating a completely mesmerising hybrid.\r\n<div></div>\r\n<div></div>\r\n<h4>Lost In Waves of Light</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 200px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=3184595053/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/lost-in-waves-of-light\">Lost In Waves Of Light by Antonymes</a></iframe>\r\n<div></div>\r\nCreated from elements lifted off Antonyme’s critically acclaimed album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span>, ‘Lost In Waves Of Light’ is a deftly crafted sonic and melodic patchwork. The track sits as a wonderful companion piece to the album, as recognised melodies unfurl, cloaked in new guises. As a work unto itself it once again places Antonymes at the height of his game, producing some of the most emotionally and sonically engaging work being released today. Antonymes new album <span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> has been met with universal acclaim since its release in April. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow.\r\n<div></div>\r\n<div></div>\r\n<h4>The Licence To Interpret Dreams</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 600px; height: 550px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=1679006704/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://antonymes.bandcamp.com/album/the-licence-to-interpret-dreams\">The Licence To Interpret Dreams by Antonymes</a></iframe>\r\n<div></div>\r\n<span style=\"font-style: italic;\">The Licence To Interpret Dreams</span> is the Hidden Shoal debut release by neo-classical/minimal ambient artist Antonymes. It is an album of resonant beauty, as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’. Single ‘Endlessly’ weaves traces of nature with unearthly, oscillating tones before giving way to a strident piano theme. On ‘Doubt’, Jan Van Den Broek delivers the words of Paul Morley, cradled against a bed of melancholic piano, violin and cello, leaving an indelible emotional mark. ‘A Light From The Heavens’ almost feels like a natural conclusion to the album, with its sense of reflective yearning, but it is followed by the devastating metaphysical breakdown of ‘On Arrival at the Strange Museum’, a cavernous piece that calls out like some giant magnetic spirit.[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nAntonymes is designer, photographer, conceptualist and musician Ian M. Hazeldine, making music from the wilds of North Wales, a very strange, fantastic, ultimately unreal place of mountains, streams, woods, villages and obscure wilderness. To quote North Welsh poet R. S. Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.” His music begins at the piano, where notes, space and intention combine over time, until a shape appears. This shape is taken into the computer, where it is twisted, gently, and given more detail, until it is fully formed. Composition takes form through patience, probing, occasional accidents, spontaneity and a form of focused daydreaming. Debut mini-album <em>Beauty Becomes The Enemy of the Future</em> was released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, <em>31: Before The Light Fails</em>, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes’ fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. Various pieces by Antonymes have appeared on compilations produced by labels Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet. The album <em>The Licence To Interpet Dreams</em> was released by Hidden Shoal to widespread critical acclaim in early 2011. [/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=antonymes-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=antonymes-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">Antonymes meets Slow Dancing Society – <em>We Don’t Look Back For Very Long</em> </a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_meets_Slow_Dancing_Society.pdf\">EP </a> <em><a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Lost_In_Waves_Of_Light.pdf\">Lost In Waves Of Light</a></em> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\"><em>The Licence To Interpret Dreams</em> Album</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes-Endlessly.pdf\">‘Endlessly’ Single</a> <a href=\"../../publicity/press-releases/HSR_Press_Release-Antonymes_Signing.pdf\">Antonymes Signing</a> [/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery ids=\"8222,8221,8220,8219\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\n<iframe src=\"//www.youtube.com/embed/U7tLhh8a1lo?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> <iframe src=\"//www.youtube.com/embed/4senhm9eiTY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe> [/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nAntonymes music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away. [/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-05 09:14:53','2014-09-05 09:14:53','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10573,1,'2014-09-10 14:09:07','2014-09-10 14:09:07','<img class=\"alignleft  wp-image-10601\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Impossible-Cities-1000px-300x300.jpg\" alt=\"Impossible Cities\" width=\"191\" height=\"191\" />In advance of the release of <a title=\"Todd Tobias\" href=\"http://hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>\'s new album <em>Impossible Cities</em>, the eagerly awaited follow-up to <a title=\"Medicine Show\" href=\"http://hiddenshoal.com/project/todd-tobias/\"><em>Medicine Show</em></a>, we\'re excited to present a video for the track \'Saz\'. With its fire-scorched visuals, the new video evokes the fuzzy, tribal lurch of the track itself, carving a voodoo groove that\'s deeply satisfying.\r\n\r\n<em>Impossible Cities</em> drops on the 28th of October and will include the bonus EP <em>Impossible Cities</em> 2. The album is being released on CD in Europe by the wonderful <a title=\"Tiny Room Records\" href=\"http://www.tinyroom.nl/\" target=\"_blank\">Tiny Room Records</a> and by Todd Tobias &amp; Hidden Shoal everywhere else. Keep your ears out for the first official single which lands on the 22nd of September.\r\n\r\n<iframe src=\"//www.youtube.com/embed/PaVtMYElhXo?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','First Taste of Forthcoming Todd Tobias Album','','publish','closed','closed','','first-taste-of-forthcoming-todd-tobias-album','','','2016-02-03 16:39:54','2016-02-03 08:39:54','',0,'http://www.hiddenshoal.com/?p=10573',0,'post','',0),(10574,1,'2014-09-09 05:29:41','2014-09-09 05:29:41','In advance of the release of Todd Tobias\'s new album Impossible Cities, the eagerly awaited follow-up to Medicine Show, we\'re excited to present a video for the track \'Saz\'. With its fire-scorched visuals, the new video evokes the fuzzy, tribal lurch of the track itself, carving a voodoo groove that\'s deeply satisfying.','First Taste of Forthcoming Todd Tobias Album','','inherit','closed','closed','','10573-revision-v1','','','2014-09-09 05:29:41','2014-09-09 05:29:41','',10573,'http://www.hiddenshoal.com/10573-revision-v1/',0,'revision','',0),(10523,1,'2014-09-08 09:10:43','2014-09-08 09:10:43','','Chloë March','','inherit','closed','closed','','cm3biopic-2','','','2014-09-08 09:10:43','2014-09-08 09:10:43','',10515,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1.jpg',0,'attachment','image/jpeg',0),(10524,1,'2014-09-08 09:10:52','2014-09-08 09:10:52','','Chloë March','','inherit','closed','closed','','cm4biopic','','','2014-09-08 09:10:52','2014-09-08 09:10:52','',10515,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic.jpg',0,'attachment','image/jpeg',0),(10525,1,'2014-09-08 09:10:58','2014-09-08 09:10:58','','Chloë March','','inherit','closed','closed','','cm5biopic','','','2014-09-08 09:10:58','2014-09-08 09:10:58','',10515,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic.jpg',0,'attachment','image/jpeg',0),(10526,1,'2014-09-08 09:11:03','2014-09-08 09:11:03','','Chloë March','','inherit','closed','closed','','cm6biopic','','','2014-09-08 09:11:03','2014-09-08 09:11:03','',10515,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM6BioPic.jpg',0,'attachment','image/jpeg',0),(10528,1,'2014-09-08 09:18:18','2014-09-08 09:18:18','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 472px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 09:18:18','2014-09-08 09:18:18','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10529,1,'2014-09-08 09:18:45','2014-09-08 09:18:45','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 550px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 09:18:45','2014-09-08 09:18:45','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10530,1,'2014-09-08 09:19:34','2014-09-08 09:19:34','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 535px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 09:19:34','2014-09-08 09:19:34','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10531,1,'2014-09-08 09:20:21','2014-09-08 09:20:21','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 09:20:21','2014-09-08 09:20:21','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10532,1,'2014-09-08 13:19:31','2014-09-08 13:19:31','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Garden On The Boulevard</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe><br /> November 2009</p><div> </div><p><em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p> No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 13:19:31','2014-09-08 13:19:31','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10533,1,'2014-09-08 13:36:39','2014-09-08 13:36:39','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Chloë March</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nOft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Politik</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe>\r\nJuly 2012\r\n<div></div>\r\nChloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.\r\n<div></div>\r\n<div></div>\r\n<h4>Garden On The Boulevard</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe>\r\nNovember 2009\r\n<div></div>\r\n<em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.\r\n<div></div>\r\n<div></div>\r\n<h4>Divining</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe>\r\nNovember 2008\r\n<div></div>\r\nChloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.\r\n\r\nWith the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nChloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.\r\n\r\nInspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nChloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-08 13:36:39','2014-09-08 13:36:39','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10534,1,'2014-09-08 13:43:17','2014-09-08 13:43:17','\"A command of the keyboard reminiscent of Kate Bush, Tori Amos or Nina Simone... Hear the three years of perfectionism\"\r\n\r\n-<strong> <span class=\"QuoteFrom\">Tom Robinson BBC6</span></strong>','Chloe March Reviewed by Tom Robinson, BBC6 ','','publish','closed','closed','','chloe-march-reviewed-by-tom-robinson-bbc6','','','2014-09-08 13:43:17','2014-09-08 13:43:17','',0,'http://www.hiddenshoal.com/?p=10534',0,'post','',0),(10535,1,'2014-09-08 13:43:17','2014-09-08 13:43:17','\"A command of the keyboard reminiscent of Kate Bush, Tori Amos or Nina Simone... Hear the three years of perfectionism\"\r\n\r\n-<strong> <span class=\"QuoteFrom\">Tom Robinson BBC6</span></strong>','Chloe March Reviewed by Tom Robinson, BBC6 ','','inherit','closed','closed','','10534-revision-v1','','','2014-09-08 13:43:17','2014-09-08 13:43:17','',10534,'http://www.hiddenshoal.com/10534-revision-v1/',0,'revision','',0),(10536,1,'2014-09-08 13:48:09','2014-09-08 13:48:09','\"Wow, this is a beautiful record. Anna Maria reviewed her previous release, [<em>Snowdrop</em>] (I love that title) back in 2004. But being inundated with my own stack of albums to listen and write about, I never got around to checking her out for myself.\r\n\r\nMarch has a voice that blends perfectly with the lush arrangements and intricate piano tinkling. It can be soft almost whispery, and also full and clear.\r\n\r\nThere is quite a lot going on here musically. The aforementioned twinkly piano, but there are also according to her bio: “marimbas, harp, strings and shimmering beats with French horn, found sounds of paper, glass, and wind chimes.” I really enjoy songs that incorporate many layers and instruments (if paper is an instrument, and heck, why not?) and this is a perfect example of this method done right.\r\n\r\nStand out songs: <em>Written on Water, Sea Bell</em> and title track, <em>Divining</em>.\r\n\r\nSeeing as this whole album was inspired by water, it’s no surprise that this is perfect for those cold, rainy days spend under a blanket with tea and a book (and if you’re lucky a dog or cat curled at your feet.)\"\r\n\r\n- <a title=\"Collected Sounds\" href=\"http://www.blog.collectedsounds.com/?p=3562\" target=\"_blank\"><strong>Collected Sounds</strong></a>','Chloe March \"Divining\" Reviewed at Collected Sounds','','publish','closed','closed','','chloe-march-divining-reviewed-at-collected-sounds','','','2014-09-08 13:53:37','2014-09-08 13:53:37','',0,'http://www.hiddenshoal.com/?p=10536',0,'post','',0),(10537,1,'2014-09-08 13:46:25','2014-09-08 13:46:25','\"Wow, this is a beautiful record. Anna Maria reviewed her previous release, [<em>Snowdrop</em>] (I love that title) back in 2004. But being inundated with my own stack of albums to listen and write about, I never got around to checking her out for myself.\r\n\r\nMarch has a voice that blends perfectly with the lush arrangements and intricate piano tinkling. It can be soft almost whispery, and also full and clear.\r\n\r\nThere is quite a lot going on here musically. The aforementioned twinkly piano, but there are also according to her bio: “marimbas, harp, strings and shimmering beats with French horn, found sounds of paper, glass, and wind chimes.” I really enjoy songs that incorporate many layers and instruments (if paper is an instrument, and heck, why not?) and this is a perfect example of this method done right.\r\n\r\nStand out songs: <em>Written on Water, Sea Bell</em> and title track, <em>Divining</em>.\r\n\r\nSeeing as this whole album was inspired by water, it’s no surprise that this is perfect for those cold, rainy days spend under a blanket with tea and a book (and if you’re lucky a dog or cat curled at your feet.)\"','Chloe March \"Divining','','inherit','closed','closed','','10536-revision-v1','','','2014-09-08 13:46:25','2014-09-08 13:46:25','',10536,'http://www.hiddenshoal.com/10536-revision-v1/',0,'revision','',0),(10538,1,'2014-09-08 13:48:09','2014-09-08 13:48:09','\"Wow, this is a beautiful record. Anna Maria reviewed her previous release, [<em>Snowdrop</em>] (I love that title) back in 2004. But being inundated with my own stack of albums to listen and write about, I never got around to checking her out for myself.\r\n\r\nMarch has a voice that blends perfectly with the lush arrangements and intricate piano tinkling. It can be soft almost whispery, and also full and clear.\r\n\r\nThere is quite a lot going on here musically. The aforementioned twinkly piano, but there are also according to her bio: “marimbas, harp, strings and shimmering beats with French horn, found sounds of paper, glass, and wind chimes.” I really enjoy songs that incorporate many layers and instruments (if paper is an instrument, and heck, why not?) and this is a perfect example of this method done right.\r\n\r\nStand out songs: <em>Written on Water, Sea Bell</em> and title track, <em>Divining</em>.\r\n\r\nSeeing as this whole album was inspired by water, it’s no surprise that this is perfect for those cold, rainy days spend under a blanket with tea and a book (and if you’re lucky a dog or cat curled at your feet.)\"\r\n\r\n- <a title=\"Collected Sounds\" href=\"http://www.blog.collectedsounds.com/?p=3562\" target=\"_blank\"><strong>Collected Sounds</strong></a>','Chloe March \"Divining\" Reviewed at Collected Sounds','','inherit','closed','closed','','10536-revision-v1','','','2014-09-08 13:48:09','2014-09-08 13:48:09','',10536,'http://www.hiddenshoal.com/10536-revision-v1/',0,'revision','',0),(10539,1,'2014-09-08 14:04:05','2014-09-08 14:04:05','\"Electronic dreampop with dashes of jazz and artsong. One woman band March crafts an ethereal song cycle... using the intricate minimalism of Steve Reich, layers of sparkling keyboards and her deep, sensual alto....Ms March is a more pastoral Kate Bush. it\'s the sort of music that would accompany a movie version of Wuthering Heights (as directed by Peter Greenaway).\"\r\n\r\n- <strong><span class=\"QuoteFrom\">The New Gay</span></strong>','Chloe March \"Divining\" Reviewed at The New Gay','','publish','closed','closed','','chloe-march-reviewed-at-the-new-gay','','','2014-09-09 13:35:56','2014-09-09 13:35:56','',0,'http://www.hiddenshoal.com/?p=10539',0,'post','',0),(10540,1,'2014-09-08 13:59:01','2014-09-08 13:59:01','\"Electronic dreampop with dashes of jazz and artsong. One woman band March crafts an ethereal song cycle... using the intricate minimalism of Steve Reich, layers of sparkling keyboards and her deep, sensual alto....Ms March is a more pastoral Kate Bush. it\'s the sort of music that would accompany a movie version of Wuthering Heights (as directed by Peter Greenaway).\"\r\n\r\n- <strong><span class=\"QuoteFrom\">The New Gay</span></strong>','Chloe March Reviewed at The New Gay','','inherit','closed','closed','','10539-revision-v1','','','2014-09-08 13:59:01','2014-09-08 13:59:01','',10539,'http://www.hiddenshoal.com/10539-revision-v1/',0,'revision','',0),(10541,1,'2014-09-08 14:31:02','2014-09-08 14:31:02','\"The effusive mood of the atmospheric ‘Perfume and Woodsmoke’ starts invocatively then spreads luminously as Chloë’s majestic voice arches skyward. ‘The Light Room’ is a pensive reflection in voice and piano solo, fittingly so, with uninsulated emotion; the spare beauty comes through…Much is to be said about Chloë’s musical tapestry, most prominently it’s visual/cinematic quality. The lyrical imagery and flow, the harmonic coloration, the depth of rhythmic undertow - are all geared towards presenting the intensity of conditions and states of the mind – an inner theatre made tangible by sound.\"\r\n\r\n- <strong><span class=\"QuoteFrom\">Julian\'s Flight</span></strong>','Chloe March \"Snowdrop\" Reviewed at Julian\'s Flight','','publish','closed','closed','','chloe-march-reviewed-at-julians-flight','','','2014-09-09 02:05:46','2014-09-09 02:05:46','',0,'http://www.hiddenshoal.com/?p=10541',0,'post','',0),(10542,1,'2014-09-08 14:31:02','2014-09-08 14:31:02','\"A mesmerizing voice.... An inner theatre made tangible by sound\"\r\n\r\n- <strong><span class=\"QuoteFrom\">Julian\'s Flight</span></strong>','Chloe March Reviewed at Julian\'s Flight','','inherit','closed','closed','','10541-revision-v1','','','2014-09-08 14:31:02','2014-09-08 14:31:02','',10541,'http://www.hiddenshoal.com/10541-revision-v1/',0,'revision','',0),(10543,1,'2014-09-08 14:39:19','2014-09-08 14:39:19','<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">\"The expressive and acoustic qualities of Chloe March’s own experiments and personal poetry resonates intimately with Joe Dürbeck’s immersive and powerful electronic fragments to a create a very sensuous experience.\" </span></span>\r\n\r\n<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">- <strong><span class=\"smallText\"><span class=\"QuoteFrom\">Igloo Magazine</span></span></strong></span></span>','Chloe March & Jumpel Reviewed at Igloo Mag','','publish','closed','closed','','chloe-marchs-collaboration-with-jumpel-reviewed-at-igloo-mag','','','2014-09-09 06:11:08','2014-09-09 06:11:08','',0,'http://www.hiddenshoal.com/?p=10543',0,'post','',0),(10544,1,'2014-09-08 14:39:19','2014-09-08 14:39:19','<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">\"The expressive and acoustic qualities of Chloe March’s own experiments and personal poetry resonates intimately with Joe Dürbeck’s immersive and powerful electronic fragments to a create a very sensuous experience.\" </span></span>\r\n\r\n<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">- <strong><span class=\"smallText\"><span class=\"QuoteFrom\">Igloo Magazine</span></span></strong></span></span>','Chloe March\'s Collaboration with Jumpel Reviewed at Igloo Mag','','inherit','closed','closed','','10543-revision-v1','','','2014-09-08 14:39:19','2014-09-08 14:39:19','',10543,'http://www.hiddenshoal.com/10543-revision-v1/',0,'revision','',0),(10545,1,'2014-09-08 14:44:38','2014-09-08 14:44:38','<span class=\"QuoteTextNBD\">\"An extraordinary vocal from March, at times reminiscent of Beth Gibbons and Mimi Parker of Low.\"</span>\r\n\r\n<span class=\"QuoteTextNBD\">- <strong><span class=\"QuoteFrom\">Nowamuzyka</span></strong></span>','Chloe March & Jumpel Reviewed at Nowamuzyka','','publish','closed','closed','','chloe-marchs-collaboration-with-jumpel-reviewed-at-nowamuzyka','','','2014-09-09 06:10:48','2014-09-09 06:10:48','',0,'http://www.hiddenshoal.com/?p=10545',0,'post','',0),(10546,1,'2014-09-08 14:44:38','2014-09-08 14:44:38','<span class=\"QuoteTextNBD\">\"An extraordinary vocal from March, at times reminiscent of Beth Gibbons and Mimi Parker of Low.\"</span>\r\n\r\n<span class=\"QuoteTextNBD\">- <strong><span class=\"QuoteFrom\">Nowamuzyka</span></strong></span>','Chloe March\'s Collaboration with Jumpel Reviewed at Nowamuzyka','','inherit','closed','closed','','10545-revision-v1','','','2014-09-08 14:44:38','2014-09-08 14:44:38','',10545,'http://www.hiddenshoal.com/10545-revision-v1/',0,'revision','',0),(10547,1,'2014-09-08 14:49:02','2014-09-08 14:49:02','\"<span class=\"QuoteTextNBD\">\'Vocalist Chloë March[\'s] humanizing presence elevates every song on which she appears... Alluringly hushed... Her sensual vocalizing [and] soft, smoky delivery leaves a haunting impression\'</span>\"\r\n\r\n- Textura','Chloe March & Jumpel Reviewed at Textura','','publish','closed','closed','','chloe-marchs-collaboration-with-jumpel-reviewed-at-textura','','','2014-09-09 06:10:56','2014-09-09 06:10:56','',0,'http://www.hiddenshoal.com/?p=10547',0,'post','',0),(10548,1,'2014-09-08 14:49:02','2014-09-08 14:49:02','\"<span class=\"QuoteTextNBD\">\'Vocalist Chloë March[\'s] humanizing presence elevates every song on which she appears... Alluringly hushed... Her sensual vocalizing [and] soft, smoky delivery leaves a haunting impression\'</span>\"\r\n\r\n- Textura','Chloe March\'s Collaboration with Jumpel Reviewed at Textura','','inherit','closed','closed','','10547-revision-v1','','','2014-09-08 14:49:02','2014-09-08 14:49:02','',10547,'http://www.hiddenshoal.com/10547-revision-v1/',0,'revision','',0),(10549,1,'2014-09-09 02:01:13','2014-09-09 02:01:13','\"<em>Divining</em> is a gorgeous semi concept album, water imagery being the central conceit. Her voice is a smooth silky alto and her hypnotic compositions are drenched in misty synth orchestrations, Satie-piano pieces, wind chimes, French horns and harps.*Highly recommended* for lovers of ethereal dream pop.\"\r\n\r\n- Ethereal Lad','Chloë March \"Divining\" Reviewed at Ethereal Lad','','publish','closed','closed','','chloe-march-divining-reviewed-at-ethereal-lad','','','2014-09-09 02:01:13','2014-09-09 02:01:13','',0,'http://www.hiddenshoal.com/?p=10549',0,'post','',0),(10550,1,'2014-09-09 02:01:13','2014-09-09 02:01:13','\"<em>Divining</em> is a gorgeous semi concept album, water imagery being the central conceit. Her voice is a smooth silky alto and her hypnotic compositions are drenched in misty synth orchestrations, Satie-piano pieces, wind chimes, French horns and harps.*Highly recommended* for lovers of ethereal dream pop.\"\r\n\r\n- Ethereal Lad','Chloë March \"Divining\" Reviewed at Ethereal Lad','','inherit','closed','closed','','10549-revision-v1','','','2014-09-09 02:01:13','2014-09-09 02:01:13','',10549,'http://www.hiddenshoal.com/10549-revision-v1/',0,'revision','',0),(10552,1,'2014-09-09 02:04:26','2014-09-09 02:04:26','\"The effusive mood of the atmospheric ‘Perfume and Woodsmoke’ starts invocatively then spreads luminously as Chloë’s majestic voice arches skyward. ‘The Light Room’ is a pensive reflection in voice and piano solo, fittingly so, with uninsulated emotion; the spare beauty comes through…Much is to be said about Chloë’s musical tapestry, most prominently it’s visual/cinematic quality. The lyrical imagery and flow, the harmonic coloration, the depth of rhythmic undertow - are all geared towards presenting the intensity of conditions and states of the mind – an inner theatre made tangible by sound.\"\n\n- <strong><span class=\"QuoteFrom\">Julian\'s Flight</span></strong>','Chloe March Reviewed at Julian\'s Flight','','inherit','closed','closed','','10541-autosave-v1','','','2014-09-09 02:04:26','2014-09-09 02:04:26','',10541,'http://www.hiddenshoal.com/10541-autosave-v1/',0,'revision','',0),(10553,1,'2014-09-09 02:05:46','2014-09-09 02:05:46','\"The effusive mood of the atmospheric ‘Perfume and Woodsmoke’ starts invocatively then spreads luminously as Chloë’s majestic voice arches skyward. ‘The Light Room’ is a pensive reflection in voice and piano solo, fittingly so, with uninsulated emotion; the spare beauty comes through…Much is to be said about Chloë’s musical tapestry, most prominently it’s visual/cinematic quality. The lyrical imagery and flow, the harmonic coloration, the depth of rhythmic undertow - are all geared towards presenting the intensity of conditions and states of the mind – an inner theatre made tangible by sound.\"\r\n\r\n- <strong><span class=\"QuoteFrom\">Julian\'s Flight</span></strong>','Chloe March \"Snowdrop\" Reviewed at Julian\'s Flight','','inherit','closed','closed','','10541-revision-v1','','','2014-09-09 02:05:46','2014-09-09 02:05:46','',10541,'http://www.hiddenshoal.com/10541-revision-v1/',0,'revision','',0),(10554,1,'2014-09-07 02:13:41','2014-09-07 02:13:41','\"English singer Chloë March has a gorgeous voice and a way with writing great songs. The song \"Diamond Skin\" evokes eighties singer Virgina Astley. There\'s also a trace of David Sylvian\'s jazz-tinted sound. Emma Bell\'s French horn adds a delightful touch.\"Snowdrop\" continues the sophisticated songwriting. March\'s clear voice and the air of melancholy in this song are just lovely.  \"The Fisherman\'s House\" is an evocative tale. The utterly gorgeous melody and March\'s singing are exceptional.  \"Dog-Rose\" is a minimalist song in the vein of Sylvian\'s \"September\". March\'s voice and a piano are all we have here and all there needs to be.   \"Snowdrop\" is a thing of beauty and a bright future must beckon for Chloë March.\"\r\n\r\n- <strong>Collected Sounds</strong>','Chloë March \"Snowdrop\" Reviewed at Collected Sounds','','publish','closed','closed','','chloe-march-snowdrop-reviewed-at-collected-sounds','','','2014-09-09 02:16:41','2014-09-09 02:16:41','',0,'http://www.hiddenshoal.com/?p=10554',0,'post','',0),(10555,1,'2014-09-09 02:16:41','2014-09-09 02:16:41','\"English singer Chloë March has a gorgeous voice and a way with writing great songs. The song \"Diamond Skin\" evokes eighties singer Virgina Astley. There\'s also a trace of David Sylvian\'s jazz-tinted sound. Emma Bell\'s French horn adds a delightful touch.\"Snowdrop\" continues the sophisticated songwriting. March\'s clear voice and the air of melancholy in this song are just lovely.  \"The Fisherman\'s House\" is an evocative tale. The utterly gorgeous melody and March\'s singing are exceptional.  \"Dog-Rose\" is a minimalist song in the vein of Sylvian\'s \"September\". March\'s voice and a piano are all we have here and all there needs to be.   \"Snowdrop\" is a thing of beauty and a bright future must beckon for Chloë March.\"\r\n\r\n- <strong>Collected Sounds</strong>','Chloë March \"Snowdrop\" Reviewed at Collected Sounds','','inherit','closed','closed','','10554-revision-v1','','','2014-09-09 02:16:41','2014-09-09 02:16:41','',10554,'http://www.hiddenshoal.com/10554-revision-v1/',0,'revision','',0),(10907,1,'2014-10-15 15:44:34','2014-10-15 07:44:34','<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-10915 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"285\" height=\"221\" />While few would dispute the importance of music in film and TV, I wonder how many outside the industry understand the machinations and the people that make it happen? Cue the music supervisor, who acts as a bridge between the vision and the music, and on a more practical level, the label/artist and the director/producer.</p>\r\n<p style=\"text-align: justify;\"><a title=\"Steve Griffen IMDB\" href=\"http://www.imdb.com/name/nm2349075/\" target=\"_blank\">Steve Griffen</a> has worked as a music supervisor in the US on such diverse projects as <em><a title=\"It’s Always Sunny In Philadelphia\" href=\"http://www.imdb.com/title/tt0472954/\" target=\"_blank\">It’s Always Sunny In Philadelphia</a></em>, <a title=\"Hot Tub Time Machine 2\" href=\"http://www.imdb.com/title/tt2637294/?ref_=nm_flmg_msdp_2\" target=\"_blank\">Hot Tub Time Machine 2</a>, <a title=\"We Are Marshall\" href=\"http://www.imdb.com/title/tt0758794/?ref_=nm_flmg_msdp_12\" target=\"_blank\">We Are Marshall</a>, the upcoming <a title=\"Mr Robinson\" href=\"http://www.imdb.com/title/tt2800234/?ref_=nm_flmg_msdp_1\" target=\"_blank\">Mr Robinson</a> (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the <a title=\"30 Days in May IMDB\" href=\"http://www.imdb.com/title/tt2812870/\" target=\"_blank\">30 Days In May</a> documentary, which features nine songs from the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal catalogue</a>, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:</p>\r\n\r\n<h5 style=\"text-align: justify;\">How did you get into music supervision?</h5>\r\n<p style=\"text-align: justify;\">It was actually forced onto me…somewhat.  I worked primarily as a music editor in the beginning, and was editing on a television show when the network tried to force all of the shows to start using in-house music supervisors by not allowing supervisors in their budgets.  The producers were used to having a supervisor attached to the production and offered me a raise to handle the supervision (since I was already employed as the music editor).  There is a lot of crossover between editor and supervisor responsibilities, and the in-house supervisors did the ‘heavy-lifting’ when I called on them, so it made the transition somewhat painless.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s a day in the life of a music supervisor like?</h5>\r\n<p style=\"text-align: justify;\">The day always starts with reading a lot of emails over coffee.  When I have time, I download the new music sent to me and try to give it a listen while travelling.  I may have spotting sessions, concept meetings or mixes to attend.  Whenever something music musical is taking place on the set, I am usually there as well. The rest of the time is spent auditioning songs against scenes, drafting requests and licenses or handling music editorial, which I also do on most of my projects.  I go out to see bands a few nights a week as well in an attempt to stay current.  One of the job perks is getting tickets to most of the shows that are happening every night in L.A.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I realise this must vary from project to project, but is there usually a specific point in the production process where you’re brought in? Does the point at which you join a project affect your approach?</h5>\r\n<p style=\"text-align: justify;\">It varies with each project, but I like coming in at the scripting phase.  That allows me to avoid licensing pratfalls early on take part in a musically creative component of the job.  If I get brought in after something is already shot or edited with music attached, the job is more about doing my best to fit the existing music into the budget or finding replacements for what cannot be licensed.  Nobody is ever happy having to replace the music they have been living with, so those jobs can be problematic.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s been your favourite music placement and why?</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10961 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/iasip_ninjas-300x199.jpg\" alt=\" ‘It’s Always Sunny in Philadelphia’ Review: “The Gang Save the Day”\" width=\"300\" height=\"199\" />For the 100<sup>th</sup> episode of ‘It’s Always Sunny In Philadelphia’, they shot an intricate ninja fight sequence.  We spent a lot of time trying out different songs for it and really loved “Smack My Bitch Up” by The Prodigy.  There was a little back-and-forth with the band initially since they did not know the show, but after we forwarded them some episodes, they agreed.  The publishers and label are all great people to work with, and the song worked on so many levels with the obvious nod to ‘Charlie’s Angel\'s’.  Plus, the song was misunderstood by a lot of people who took offense to it when it was released, similar to how ‘Sunny’ is often received.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Without telling tales out of school, what was your hardest sync?</h5>\r\n<p style=\"text-align: justify;\">I’d have to say “Mama Said Knock You Out” by LL Cool J.  There are a lot of samples in that track and even the samples have other samples in them.  The pile of paperwork that it created made me feel guilty of deforestation.</p>\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5 style=\"text-align: justify;\">Do you ever have to argue the value of a particular song to a director?</h5>\r\n<p style=\"text-align: justify;\">Constantly.  It’s rare for everyone on a project to see eye-to-eye on music.  It can be a polarizing topic that everyone wants to weigh in on.</p>\r\n\r\n<h5 style=\"text-align: justify;\">I’ve heard it said, partly tongue in cheek, that music supervisors are the new A&amp;Rs, and I know that many enjoy the ability to bring new music to new ears. Has this changed the way you think about your role or your choice of music in any way?</h5>\r\n<p style=\"text-align: justify;\">I don’t think my though process has changed because that’s how I’ve always viewed the role of a supervisor.  I transitioned out of the record industry into TV/Film and had the chance to see guys like Danny Bramson doing more for the artists I worked with in the 90’s than the A&amp;R department. I love seeing bands break after a great placement in one of my shows.  It makes me feel still connected to the record industry in a small way.</p>\r\n\r\n<h5 style=\"text-align: justify;\">How do you find the music you need for a project? Do you scout for music outside of a project to keep things tagged for future projects?</h5>\r\n<p style=\"text-align: justify;\">The music comes from all over the place, usually.  Raiding the iTunes playlists of the interns on the show, seeing new bands in L.A., temp music from the editors, music scripted into the scene, etc…</p>\r\n<p style=\"text-align: justify;\">I don’t really tag things for the future because that never seems to work out.  Same with scripted music.  It rarely ends up in the final cut.  Producers and directions want to hear options and opinions from others.  I have a somewhat photographic memory for songs so I’ll watch the scene down without music once it’s cut and sometimes I just know the song that’s needed.  Then we are back to topic #6 above where I have to fight to keep it.</p>\r\n\r\n<h5 style=\"text-align: justify;\">Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\n<p style=\"text-align: justify;\"><img class=\"alignleft wp-image-10978\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Craig-Robinson-300x200.jpg\" alt=\"Craig Robinson\" width=\"209\" height=\"139\" />The pilot for that was done before I started ‘Hot Tub…’ and it’s still not in production!  It’s supposed to be a mid-season replacement for this year so I expect it to start up soon.  I can tell you that it’s based mainly on Craig’s real life as a struggling funk musician when he was starting out.  He played on the recordings we did for the pilot and I engineered/produced those sessions.  Hoping that his music remains a big part of the final show because I would love the chance to utilize my engineering skills regularly.  Record budgets don’t usually allow for time in big studios anymore so the only way I get to sit behind a nice recording console is when I’m recording for TV/film projects.</p>\r\n\r\n<h5 style=\"text-align: justify;\">What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\n<p style=\"text-align: justify;\">Literally on the turntable?  I think that’s probably “Dark Side of the Moon”, but the turntable is pretty much there as a conversation piece in my office.  The top 10 recently most played songs on my iPhone are from Muse, Jimmy Eat World, Tame Impala, The Roots and Jack White.  Okay…there’s a Tears for Fears song on the list too.  Not sure how that fits into the above list.</p>','Sound and Scene with Music Supervisor Steve Griffen','','publish','closed','closed','','sound-and-scene-with-music-supervisor-steve-griffen','','','2016-02-03 16:48:37','2016-02-03 08:48:37','',0,'http://www.hiddenshoal.com/?p=10907',0,'post','',0),(10559,1,'2014-09-09 02:25:17','2014-09-09 02:25:17','\"Chloe March\'s album <em>Divining</em> has been mentioned a number of times on ecto. ‘It\'s as lovely as they say. It\'s almost a score without a film. There\'s a sense of place, earnest and immersive. And what\'s truly remarkable is that it\'s not at all the samey new-age-compilation that the song titles might suggest. Listening to it is interesting. There are things to discover. There are ways to become lost.’\r\n\r\nTake \"Soft Rain.\" There\'s more tumult here than you might expect from the title: a pitter-patter of a drum part, a backdrop more propulsive than droning. And there are quiet moments, too, when it dies down so the piano can plink out the raindrops. The song demands a window and a spring shower, but even the latter\'s not necessary. It\'ll provide one.\"\r\n\r\n- <strong>Self As Fractal</strong>','Chloë March \"Divining\" Reviewed at Self As Fractal','','publish','closed','closed','','chloe-march-divining-reviewed-at-self-as-fractal','','','2014-09-09 02:25:17','2014-09-09 02:25:17','',0,'http://www.hiddenshoal.com/?p=10559',0,'post','',0),(10560,1,'2014-09-09 02:25:17','2014-09-09 02:25:17','\"Chloe March\'s album <em>Divining</em> has been mentioned a number of times on ecto. ‘It\'s as lovely as they say. It\'s almost a score without a film. There\'s a sense of place, earnest and immersive. And what\'s truly remarkable is that it\'s not at all the samey new-age-compilation that the song titles might suggest. Listening to it is interesting. There are things to discover. There are ways to become lost.’\r\n\r\nTake \"Soft Rain.\" There\'s more tumult here than you might expect from the title: a pitter-patter of a drum part, a backdrop more propulsive than droning. And there are quiet moments, too, when it dies down so the piano can plink out the raindrops. The song demands a window and a spring shower, but even the latter\'s not necessary. It\'ll provide one.\"\r\n\r\n- <strong>Self As Fractal</strong>','Chloë March \"Divining\" Reviewed at Self As Fractal','','inherit','closed','closed','','10559-revision-v1','','','2014-09-09 02:25:17','2014-09-09 02:25:17','',10559,'http://www.hiddenshoal.com/10559-revision-v1/',0,'revision','',0),(10561,1,'2014-09-09 02:30:52','2014-09-09 02:30:52','‘It’s a world that everyone can see and touch… but to hear it’s secret metamorphosis to music you must be invited. ‘Divining’ is the invitation. A collection of reflections set to the most imaginative assemblage of a mesmerizing voice and artfully filtered sounds.’\r\n\r\n- <strong>Julian\'s Flight</strong>','Chloë March \"Divining\" Reviewed at Julians Flight','','publish','closed','closed','','chloe-march-divining-reviewed-at-julians-flight','','','2014-09-09 02:30:52','2014-09-09 02:30:52','',0,'http://www.hiddenshoal.com/?p=10561',0,'post','',0),(10562,1,'2014-09-09 02:30:52','2014-09-09 02:30:52','‘It’s a world that everyone can see and touch… but to hear it’s secret metamorphosis to music you must be invited. ‘Divining’ is the invitation. A collection of reflections set to the most imaginative assemblage of a mesmerizing voice and artfully filtered sounds.’\r\n\r\n- <strong>Julian\'s Flight</strong>','Chloë March \"Divining\" Reviewed at Julians Flight','','inherit','closed','closed','','10561-revision-v1','','','2014-09-09 02:30:52','2014-09-09 02:30:52','',10561,'http://www.hiddenshoal.com/10561-revision-v1/',0,'revision','',0),(10563,1,'2014-11-05 02:31:15','2014-11-05 02:31:15','\"This album track Ember has a stunning raw and emotional minimalism to it, lovingly overlaid with Chloe’s velvet tones. It touches the heartstrings\"\r\n\r\n-<strong> Shell Zenner, Amazing Radio DJ, - Fresh on the Net</strong>','Chloë March \'Nights Bright Days\' Reviewed at Fresh On The Net','','publish','closed','closed','','chloe-march-ember-reviewed-at-fresh-on-the-net','','','2014-09-09 02:37:07','2014-09-09 02:37:07','',0,'http://www.hiddenshoal.com/?p=10563',0,'post','',0),(10564,1,'2014-09-09 02:35:29','2014-09-09 02:35:29','\"This album track Ember has a stunning raw and emotional minimalism to it, lovingly overlaid with Chloe’s velvet tones. It touches the heartstrings\"\r\n\r\n-<strong> Shell Zenner, Amazing Radio DJ, - Fresh on the Net</strong>','Chloë March \'Ember\' Reviewed at Fresh on the Net','','inherit','closed','closed','','10563-revision-v1','','','2014-09-09 02:35:29','2014-09-09 02:35:29','',10563,'http://www.hiddenshoal.com/10563-revision-v1/',0,'revision','',0),(10565,1,'2014-09-09 02:36:38','2014-09-09 02:36:38','\"This album track Ember has a stunning raw and emotional minimalism to it, lovingly overlaid with Chloe’s velvet tones. It touches the heartstrings\"\n\n-<strong> Shell Zenner, Amazing Radio DJ, - Fresh on the Net</strong>','Chloë March \'Nights Br\' Reviewed at Textura','','inherit','closed','closed','','10563-autosave-v1','','','2014-09-09 02:36:38','2014-09-09 02:36:38','',10563,'http://www.hiddenshoal.com/10563-autosave-v1/',0,'revision','',0),(10566,1,'2014-09-09 02:37:07','2014-09-09 02:37:07','\"This album track Ember has a stunning raw and emotional minimalism to it, lovingly overlaid with Chloe’s velvet tones. It touches the heartstrings\"\r\n\r\n-<strong> Shell Zenner, Amazing Radio DJ, - Fresh on the Net</strong>','Chloë March \'Nights Bright Days\' Reviewed at Fresh On The Net','','inherit','closed','closed','','10563-revision-v1','','','2014-09-09 02:37:07','2014-09-09 02:37:07','',10563,'http://www.hiddenshoal.com/10563-revision-v1/',0,'revision','',0),(10567,1,'2014-11-12 02:37:12','2014-11-12 02:37:12','\"Nights Bright Days, the third album from British singer-songwriter Chloë March, arrives in the wake of her memorable performance on Bloc 4, the most recent Hidden Shoal collection by Jumpel. Self-recorded and self-produced, March\'s sixteen-song recording is a different creature stylistically speaking than Jumpel\'s, with the songstress opting for a style closer in spirit to entrancing artpop than ambient composition per se. A poetic quality pervades her material, and in that regard it doesn\'t surprise that many songs reference mythological tales and figures such as Eurydice and Orpheus.\r\n\r\nCrafted with obvious love and care, the songs unfold instrumentally as dream-like soundscapes where March\'s piano and synthesizers are complemented by guitar, French horn, and woodwinds contributions from Tommy Ashby, Emma Bell, and Ted Watson, respectively. Her music\'s defining sound, however, is her luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic for the listener amenable to its charms. In a typical song, she bolsters her singing\'s impact and the music\'s entrancing potential by accompanying the lead vocal with intricate, multi-layered counterpoint (“Orpheus at Sea” one good example of many). At such moments, it\'s hard not to think of the mythological Sirens who used their hypnotic voices to lure sailors ashore, wrecking their ships against the island\'s rocky coast in the process. In place of naked vulnerability, her voice typically exudes a cool control, which makes the appearance of a tremulous quality in a song like the beautiful “Unlit” all the more welcome in the way it humanizes her delivery.\r\n\r\nAs key as her singing is to the project, its sound design isn\'t incidental to its impact, as March enhances the songs with subtle touches, such as the twinkling mallet instrument that repeatedly ascends within “Winter Deep” and the soprano sax and bass clarinet haunting the backgrounds of “Sunless” and “Sometimes the Dark.” While the greater number of songs reinforce the enchanted character of the album\'s tone, there are a few, such as the piano-based reverie “Eucalyptus Night” and the jazz-inflected “Cafè des poétes,” that evoke the image of March singing softly within a dimly lit nightclub, her voice a comforting tonic for the weary listener. And while March\'s album is generally unlike Jumpel\'s, a synth-heavy piece like “Owl” wouldn\'t sound out of place on one of his recordings.\r\n\r\nOne imagines March\'s song cycle would appeal to listeners of artists like Kate Bush, Jane Siberry, and The Cocteau Twins. There is such a thing as too much of a good thing, however, and that\'s true where Nights Bright Days is concerned: in place of an unwieldy sixteen songs, something like twelve might have been more effective. A greater degree of variety in tempo might have strengthened the album, too—though not so much variety that its overall sultry mood would have been compromised. Even so, there\'s no disputing the high quality and integrity of the release, and it\'s well-presented, too, with March having supplemented the disc with a booklet of lyrics in an attractively designed case.\"\r\n\r\n- <a title=\"Textura\" href=\"http://textura.org/archives/m/march_nightsbrightdays.htm\" target=\"_blank\"><strong>Textura</strong></a>','Chloë March \"Nights Bright Days\" Reviewed at Textura','','publish','closed','closed','','chloe-march-nights-bright-days-reviewed-at-textura','','','2014-09-09 02:41:52','2014-09-09 02:41:52','',0,'http://www.hiddenshoal.com/?p=10567',0,'post','',0),(10568,1,'2014-09-09 02:41:52','2014-09-09 02:41:52','\"Nights Bright Days, the third album from British singer-songwriter Chloë March, arrives in the wake of her memorable performance on Bloc 4, the most recent Hidden Shoal collection by Jumpel. Self-recorded and self-produced, March\'s sixteen-song recording is a different creature stylistically speaking than Jumpel\'s, with the songstress opting for a style closer in spirit to entrancing artpop than ambient composition per se. A poetic quality pervades her material, and in that regard it doesn\'t surprise that many songs reference mythological tales and figures such as Eurydice and Orpheus.\r\n\r\nCrafted with obvious love and care, the songs unfold instrumentally as dream-like soundscapes where March\'s piano and synthesizers are complemented by guitar, French horn, and woodwinds contributions from Tommy Ashby, Emma Bell, and Ted Watson, respectively. Her music\'s defining sound, however, is her luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic for the listener amenable to its charms. In a typical song, she bolsters her singing\'s impact and the music\'s entrancing potential by accompanying the lead vocal with intricate, multi-layered counterpoint (“Orpheus at Sea” one good example of many). At such moments, it\'s hard not to think of the mythological Sirens who used their hypnotic voices to lure sailors ashore, wrecking their ships against the island\'s rocky coast in the process. In place of naked vulnerability, her voice typically exudes a cool control, which makes the appearance of a tremulous quality in a song like the beautiful “Unlit” all the more welcome in the way it humanizes her delivery.\r\n\r\nAs key as her singing is to the project, its sound design isn\'t incidental to its impact, as March enhances the songs with subtle touches, such as the twinkling mallet instrument that repeatedly ascends within “Winter Deep” and the soprano sax and bass clarinet haunting the backgrounds of “Sunless” and “Sometimes the Dark.” While the greater number of songs reinforce the enchanted character of the album\'s tone, there are a few, such as the piano-based reverie “Eucalyptus Night” and the jazz-inflected “Cafè des poétes,” that evoke the image of March singing softly within a dimly lit nightclub, her voice a comforting tonic for the weary listener. And while March\'s album is generally unlike Jumpel\'s, a synth-heavy piece like “Owl” wouldn\'t sound out of place on one of his recordings.\r\n\r\nOne imagines March\'s song cycle would appeal to listeners of artists like Kate Bush, Jane Siberry, and The Cocteau Twins. There is such a thing as too much of a good thing, however, and that\'s true where Nights Bright Days is concerned: in place of an unwieldy sixteen songs, something like twelve might have been more effective. A greater degree of variety in tempo might have strengthened the album, too—though not so much variety that its overall sultry mood would have been compromised. Even so, there\'s no disputing the high quality and integrity of the release, and it\'s well-presented, too, with March having supplemented the disc with a booklet of lyrics in an attractively designed case.\"\r\n\r\n- <a title=\"Textura\" href=\"http://textura.org/archives/m/march_nightsbrightdays.htm\" target=\"_blank\"><strong>Textura</strong></a>','Chloë March \"Nights Bright Days\" Reviewed at Textura','','inherit','closed','closed','','10567-revision-v1','','','2014-09-09 02:41:52','2014-09-09 02:41:52','',10567,'http://www.hiddenshoal.com/10567-revision-v1/',0,'revision','',0),(10569,1,'2014-11-11 02:47:59','2014-11-11 02:47:59','\"<em>\'Nights Bright Days</em> is an evocative and poetic tale of sensual sounds arranged in a series of unique musical dreams... I compared her voice to Beth Gibbons or Mimi Parker, but I cannot ignore such singers as Tracey Thorn and Tori Amos (\"Ember\", \"Le Roi Lonely\" and \"Dream Swim\"). The recording \'Orpheus Head\' remains deep in the memory, with electronic backing, piled vocals, piano phrases and an elegant dream-pop vibe. In turn, the beautiful ballad \'Eurydice On The Underground\' recalls the late 90s work of David Sylvian.\"\r\n\r\n- <a title=\"Nowamuzyka\" href=\"http://www.nowamuzyka.pl\" target=\"_blank\">Nowamuzyka</a>','Chloë March \"Nights Bright Days\" Reviewed at Nowamuzyka','','publish','closed','closed','','chloe-march-nights-bright-days-reviewed-at-nowamuzyka','','','2014-09-09 06:06:30','2014-09-09 06:06:30','',0,'http://www.hiddenshoal.com/?p=10569',0,'post','',0),(10570,1,'2014-09-09 02:47:59','2014-09-09 02:47:59','\"<em>\'Nights Bright Days</em> is an evocative and poetic tale of sensual sounds arranged in a series of unique musical dreams... I compared her voice to Beth Gibbons or Mimi Parker, but I cannot ignore such singers as Tracey Thorn and Tori Amos (\"Ember\", \"Le Roi Lonely\" and \"Dream Swim\"). The recording \'Orpheus Head\' remains deep in the memory, with electronic backing, piled vocals, piano phrases and an elegant dream-pop vibe. In turn, the beautiful ballad \'Eurydice On The Underground\' recalls the late 90s work of David Sylvian.\"\r\n\r\n- <a title=\"Nowamuzyka\" href=\"http://www.nowamuzyka.pl\" target=\"_blank\">Nowamuzyka</a>','Chloë March \"Nights Bright Days\" Reviewed at Nowamuzyka','','inherit','closed','closed','','10569-revision-v1','','','2014-09-09 02:47:59','2014-09-09 02:47:59','',10569,'http://www.hiddenshoal.com/10569-revision-v1/',0,'revision','',0),(10571,1,'2014-11-14 02:48:20','2014-11-14 02:48:20','‘Chloe March’s third album loosely fits in this category (the concept album). But you won’t find an overarching narrative theme. Instead, you’ll find a suite of songs that use image-patterns of night, winter, light, dark with a sub-theme of Orpheus and Eurydice running through three compositions. And I use the term ‘composition’ deliberately, for these amalgamations of synthesized programs, with delicate colorings of piano, saxophone, zither and guitar are closer to the work of Erik Satie than they are to traditional pop music. March’s work most recalls David Sylvian’s classic album, Secrets of the Beehive, with its slow burning atmospherics that borrow from folk, classical, jazz and electronic ambient music. Her smoky velvet alto also shares Sylvian’s ruminative phrasing. The use of zithers (in this case, autoharp and psaltery) at times recalls the hermetic, textural compositions of acoustic-ambient artist Colleen. Nights Bright Days is like musical incense. Recommended for fans of Sylvian, Virginia Astley, and Goldfrapp (in the vein of Felt Mountain or Tales of Us).’\r\n\r\n- <strong>Strange Alphabets</strong>','Chloë March \"Nights Bright Days\" Reviewed at Strange Alphabets','','publish','closed','closed','','chloe-march-nights-bright-days-reviewed-at-strange-alphabets','','','2014-09-09 02:54:10','2014-09-09 02:54:10','',0,'http://www.hiddenshoal.com/?p=10571',0,'post','',0),(10572,1,'2014-09-09 02:54:10','2014-09-09 02:54:10','‘Chloe March’s third album loosely fits in this category (the concept album). But you won’t find an overarching narrative theme. Instead, you’ll find a suite of songs that use image-patterns of night, winter, light, dark with a sub-theme of Orpheus and Eurydice running through three compositions. And I use the term ‘composition’ deliberately, for these amalgamations of synthesized programs, with delicate colorings of piano, saxophone, zither and guitar are closer to the work of Erik Satie than they are to traditional pop music. March’s work most recalls David Sylvian’s classic album, Secrets of the Beehive, with its slow burning atmospherics that borrow from folk, classical, jazz and electronic ambient music. Her smoky velvet alto also shares Sylvian’s ruminative phrasing. The use of zithers (in this case, autoharp and psaltery) at times recalls the hermetic, textural compositions of acoustic-ambient artist Colleen. Nights Bright Days is like musical incense. Recommended for fans of Sylvian, Virginia Astley, and Goldfrapp (in the vein of Felt Mountain or Tales of Us).’\r\n\r\n- <strong>Strange Alphabets</strong>','Chloë March \"Nights Bright Days\" Reviewed at Strange Alphabets','','inherit','closed','closed','','10571-revision-v1','','','2014-09-09 02:54:10','2014-09-09 02:54:10','',10571,'http://www.hiddenshoal.com/10571-revision-v1/',0,'revision','',0),(10576,1,'2014-09-09 06:00:23','2014-09-09 06:00:23','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Chloë March</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nOft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Politik</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe>\r\nJuly 2012\r\n<div></div>\r\nChloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.\r\n<div></div>\r\n<div></div>\r\n<h4>Garden On The Boulevard</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe>\r\nNovember 2009\r\n<div></div>\r\n<em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.\r\n<div></div>\r\n<div></div>\r\n<h4>Divining</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe>\r\nNovember 2008\r\n<div></div>\r\nChloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.\r\n\r\nWith the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nChloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.\r\n\r\nInspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nChloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-09 06:00:23','2014-09-09 06:00:23','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10575,1,'2014-09-09 06:00:04','2014-09-09 06:00:04','<p>[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]</p><h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p><p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]</p><h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Garden On The Boulevard</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe><br /> November 2009</p><div> </div><p><em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p><p>[/et_pb_tab][et_pb_tab title=\"Bio\"]</p><h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p><p>[/et_pb_tab][et_pb_tab title=\"News\"]</p><h3>News</h3><p>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]</p><h2>Reviews</h2><p>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]</p><h3>Press Releases</h3><p>No press releases yet, sorry!</p><p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]</p><h3>Artist Photos</h3><p> </p><div class=\"wpview-wrap wpview-type-gallery\" contenteditable=\"false\" data-wpview-text=\"%5Bgallery%20columns%3D%222%22%20ids%3D%2210523%2C10524%2C10525%2C10526%22%5D\" data-wpview-type=\"gallery\"><div class=\"toolbar\"> </div><div class=\"gallery gallery-columns-2\"><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><br style=\"clear: both;\" /><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM5BioPic-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl><dl class=\"gallery-item\"><dt class=\"gallery-icon\"><img src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM6BioPic-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></dt><dd class=\"wp-caption-text gallery-caption\"></dd></dl></div><ins data-wpview-end=\"1\"></ins></div><p>[/et_pb_tab][et_pb_tab title=\"Video\"]</p><h3>Music Videos</h3><p>No videos yet, sorry!</p><p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]</p><h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p><p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]</p>','Chloe March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-09 06:00:04','2014-09-09 06:00:04','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10577,1,'2014-09-09 06:00:53','2014-09-09 06:00:53','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]\r\n<h1>Chloë March</h1>\r\n<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nOft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong>\r\n\r\n[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]\r\n<h3>Discography</h3>\r\n<div></div>\r\n<div></div>\r\n<h4>Politik</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe>\r\nJuly 2012\r\n<div></div>\r\nChloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.\r\n<div></div>\r\n<div></div>\r\n<h4>Garden On The Boulevard</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe>\r\nNovember 2009\r\n<div></div>\r\n<em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.\r\n<div></div>\r\n<div></div>\r\n<h4>Divining</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe>\r\nNovember 2008\r\n<div></div>\r\nChloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.\r\n\r\nWith the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nChloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.\r\n\r\nInspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n<h3>News</h3>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n<h2>Reviews</h2>\r\n[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]\r\n<h3>Press Releases</h3>\r\nNo press releases yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Gallery\"]\r\n<h3>Artist Photos</h3>\r\n&nbsp;\r\n\r\n[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"]\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Video\"]\r\n<h3>Music Videos</h3>\r\nNo videos yet, sorry!\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Licensing\"]\r\n<h3>Licensing</h3>\r\nChloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.\r\n\r\n[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloë March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-09 06:00:53','2014-09-09 06:00:53','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10578,1,'2014-09-09 06:04:06','2014-09-09 06:04:06',' ','','','publish','closed','closed','','10578','','','2017-03-16 12:02:56','2017-03-16 04:02:56','',0,'http://www.hiddenshoal.com/?p=10578',11,'nav_menu_item','',0),(10584,1,'2014-09-09 13:27:26','2014-09-09 13:27:26','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><img class=\"alignleft wp-image-10520 size-medium\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Garden On The Boulevard</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe><br /> November 2009</p><div> </div><p><em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2>[catlist name=chloe-march-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p>No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master &amp; sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloë March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-09 13:27:26','2014-09-09 13:27:26','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10579,1,'2014-09-09 06:05:22','2014-09-09 06:05:22','[et_pb_section fullwidth=\"off\" specialty=\"on\" background_color=\"#050505\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"css\"][et_pb_column type=\"3_4\" specialty_columns=\"3\"][et_pb_row_inner][et_pb_column_inner type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\"]<h1>Chloë March</h1><p><a href=\"http://www.hiddenshoal.com/wp-content/uploads/2013/09/Antonymes_1.jpg\"><img class=\"alignleft size-medium wp-image-10520\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" /></a><em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic... it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong></p><p>Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, Chloë March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.</p><p><strong><a title=\"Facebook\" href=\"https://www.facebook.com/chloemarchmusic\" target=\"_blank\"><img class=\"alignnone wp-image-8763 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Facebook.png\" alt=\"Facebook\" width=\"26\" height=\"20\" /></a>  <a title=\"Twitter\" href=\"https://twitter.com/chloejmarch\" target=\"_blank\"><img class=\"alignnone wp-image-8766 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Twitter.png\" alt=\"Twitter\" width=\"26\" height=\"20\" /></a>  <a title=\"SoundCloud\" href=\"https://soundcloud.com/chloe-march\" target=\"_blank\"><img class=\"alignnone wp-image-8764 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/SoundCloud.png\" alt=\"SoundCloud\" width=\"26\" height=\"20\" /></a>  <a title=\"Website\" href=\"http://www.chloemarch.co.uk/\" target=\"_blank\"><img class=\"alignnone wp-image-8767 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/06/Website.png\" alt=\"Website\" width=\"26\" height=\"20\" /></a> </strong></p>[/et_pb_text][et_pb_divider admin_label=\"Divider\" color=\"#ffffff\" show_divider=\"off\" /][et_pb_tabs admin_label=\"Artist Tabs\"][et_pb_tab title=\"Discography\"]<h3>Discography</h3><div> </div><div> </div><h4>Politik</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1181470453/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/politik\">Politik by Chloë March</a></iframe><br /> July 2012</p><div> </div><p>Chloë was commissioned to compose a score for the dance-theatre piece <em>realPolitik</em>, choreographed by Julie Hope and performed at the Michaelis Theatre, London in 2008.   <em>realPolitik</em> was a re-working of <em>The Green Table</em>, a tanztheater piece created by German choreographer Kurt Jooss in 1932. <em>The Green Table</em> explored political corruption and the futility and horror of war. This modern version also concentrated on those issues, focusing on modern warfare and personal power-plays between characters.   Inspired by composers such as Walton, Weil and Stravinsky, <em>Politik</em> mixes orchestral drama with intricate and atmospheric electronica and weaves texts from A. E. Housman and Jonathan Swift into the score as spoken word elements. Highly atmospheric and emotionally involving, <em>Politik</em> offers an evocation of the 1930’s era of the original piece with a dynamic contemporary twist.</p><div> </div><div> </div><h4>Garden On The Boulevard</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 340px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=687642755/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/garden-on-the-boulevard\">Garden On The Boulevard by Chloë March</a></iframe><br /> November 2009</p><div> </div><p><em>Garden On The Boulevard</em> is a collection of six songs that includes tracks inspired by boulevard cafés and old cameras, lost love and seductive glamour, the dawn chorus, mythical bees, ghosts in the garden and frozen lakes.</p><div> </div><div> </div><h4>Divining</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 540px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=953079602/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/divining\">Divining by Chloë March</a></iframe><br /> November 2008</p><div> </div><p>Chloë spent three years writing, recording and producing her second album <em>Divining</em> (2008). Inspired by water and featuring Chloë\'s trademark poetic lyrics and immersive, cinematic soundworlds, <em>Divining</em> journeys through immersive sensuous soundscapes including a decaying Venice, a lament for Anne Boleyn, nostalgic sunlit reveries, tales of sadistic sculptors, grieving wolves and dark seas of love and loss.</p><p>With the piano at it’s heart and interweaving french horn, strings, marimbas and found-sounds including wind-chimes, paper and grass, this is a meticulously and lovingly-crafted album with a haunting, melancholic undertow.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Chloë March has always lived a life with music at its heart. She grew up as part of a musical family, with both her parents musicians at the Royal Shakespeare Theatre. Her mother’s daily practice of playing Chopin, Beethoven, Debussy and Schumann pieces on the piano was the soundtrack to her young life, and March began piano lessons aged four. Later, after her parents divorced, songwriting and improvising on the piano became vital to her. Her early life was steeped in classical and jazz, with raids on her siblings’ record collections revealing wondrous new worlds created by Kate Bush, Pink Floyd and Joni Mitchell, which led to the discovery of David Sylvian, the Cocteau Twins and Steve Reich, all of which influenced her own music. Playing in bands with her brother and spending time in his 8-track home studio sparked a passion for recording, particularly for building up soundscapes with the texture and depth of multi-tracking. This early experimentation forged a determination to be in control of her own recording at home, with her current digital set-up only occasionally disrupted by her cat, musicologist partner, and various guest musicians. March’s long, slow discovery of her singing voice has been an odyssey of sorts, gradually finding the confidence and freedom to reveal a jazz-inflected alto that has been variously described as “absolutely charismatic”, “mesmerising” and “luminous”.</p><p>Inspired by myth, history, fairytales, books, film and the sensuality of the natural world, with an obsessive attention to detail and a desire to create intensely atmospheric and emotionally truthful music, March has been recording and producing her own music since she released her second album <i>Divining</i> in 2008. Prior to <i>Divining</i>, she toured the UK and Italy as keyboard player with the band Cousteau, released her first album <i>Snowdrop</i> in 2004, and composed for theatre and dance, including the 40-minute electro-orchestral soundtrack <i>Politik</i>. March has also worked with German ambient producer Jumpel, singing on his 2010 single ‘Edinburgh’ and four songs on his 2013 album <i>Bloc4</i>. Her latest album, and her first for Hidden Shoal, <i>Nights Bright Days</i>, has been four years in the making. It was initially inspired by the night and metamorphosis, and became a cycle of songs as dreams, imbued with images of darkness and light. The album embraces jazz, classical, folk and dream-pop influences, and features guest musicians on bass clarinet, soprano sax and guitar.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=chloe-march-news content=yes pagination=no title_tag=h4 title_class=lcp_title][/et_pb_tab][et_pb_tab title=\"Reviews\"]<h2>Reviews</h2><p>[catlist name=chloe-march-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]</p>[/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p>No press releases yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery columns=\"2\" ids=\"10523,10524,10525,10526\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p>No videos yet, sorry!</p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Chloë March\'s music is  available for licensing (master & sync cleared) through Hidden Shoal. Please <a title=\"Contact Us\" href=\"http://www.hiddenshoal.com/contact-us/\">contact us</a> with some basic details about your project and the track(s) you wish to use and we’ll be sure to get back to you straight away.</p>[/et_pb_tab][/et_pb_tabs][/et_pb_column_inner][/et_pb_row_inner][/et_pb_column][et_pb_column type=\"1_4\"][et_pb_sidebar admin_label=\"Sidebar\" orientation=\"left\" area=\"sidebar-1\" background_layout=\"light\" module_id=\"shoalsidebar\" /][/et_pb_column][/et_pb_section]','Chloë March','','inherit','closed','closed','','10515-revision-v1','','','2014-09-09 06:05:22','2014-09-09 06:05:22','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10580,1,'2014-09-09 06:10:29','2014-09-09 06:10:29','\"<span class=\"QuoteTextNBD\">\'Vocalist Chloë March[\'s] humanizing presence elevates every song on which she appears... Alluringly hushed... Her sensual vocalizing [and] soft, smoky delivery leaves a haunting impression\'</span>\"\r\n\r\n- Textura','Chloe March\'s & Jumpel Reviewed at Textura','','inherit','closed','closed','','10547-revision-v1','','','2014-09-09 06:10:29','2014-09-09 06:10:29','',10547,'http://www.hiddenshoal.com/10547-revision-v1/',0,'revision','',0),(10581,1,'2014-09-09 06:10:48','2014-09-09 06:10:48','<span class=\"QuoteTextNBD\">\"An extraordinary vocal from March, at times reminiscent of Beth Gibbons and Mimi Parker of Low.\"</span>\r\n\r\n<span class=\"QuoteTextNBD\">- <strong><span class=\"QuoteFrom\">Nowamuzyka</span></strong></span>','Chloe March & Jumpel Reviewed at Nowamuzyka','','inherit','closed','closed','','10545-revision-v1','','','2014-09-09 06:10:48','2014-09-09 06:10:48','',10545,'http://www.hiddenshoal.com/10545-revision-v1/',0,'revision','',0),(10582,1,'2014-09-09 06:10:56','2014-09-09 06:10:56','\"<span class=\"QuoteTextNBD\">\'Vocalist Chloë March[\'s] humanizing presence elevates every song on which she appears... Alluringly hushed... Her sensual vocalizing [and] soft, smoky delivery leaves a haunting impression\'</span>\"\r\n\r\n- Textura','Chloe March & Jumpel Reviewed at Textura','','inherit','closed','closed','','10547-revision-v1','','','2014-09-09 06:10:56','2014-09-09 06:10:56','',10547,'http://www.hiddenshoal.com/10547-revision-v1/',0,'revision','',0),(10583,1,'2014-09-09 06:11:08','2014-09-09 06:11:08','<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">\"The expressive and acoustic qualities of Chloe March’s own experiments and personal poetry resonates intimately with Joe Dürbeck’s immersive and powerful electronic fragments to a create a very sensuous experience.\" </span></span>\r\n\r\n<span class=\"QuoteTextNBD\"><span class=\"QuoteFrom\">- <strong><span class=\"smallText\"><span class=\"QuoteFrom\">Igloo Magazine</span></span></strong></span></span>','Chloe March & Jumpel Reviewed at Igloo Mag','','inherit','closed','closed','','10543-revision-v1','','','2014-09-09 06:11:08','2014-09-09 06:11:08','',10543,'http://www.hiddenshoal.com/10543-revision-v1/',0,'revision','',0),(10585,1,'2014-09-09 13:35:56','2014-09-09 13:35:56','\"Electronic dreampop with dashes of jazz and artsong. One woman band March crafts an ethereal song cycle... using the intricate minimalism of Steve Reich, layers of sparkling keyboards and her deep, sensual alto....Ms March is a more pastoral Kate Bush. it\'s the sort of music that would accompany a movie version of Wuthering Heights (as directed by Peter Greenaway).\"\r\n\r\n- <strong><span class=\"QuoteFrom\">The New Gay</span></strong>','Chloe March \"Divining\" Reviewed at The New Gay','','inherit','closed','closed','','10539-revision-v1','','','2014-09-09 13:35:56','2014-09-09 13:35:56','',10539,'http://www.hiddenshoal.com/10539-revision-v1/',0,'revision','',0),(10586,1,'2014-09-10 04:44:40','2014-09-10 04:44:40','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"208\" height=\"208\" /></a>We are incredibly excited to announce the signing of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a> to the Hidden Shoal roster. We\'ve been fans of Chloë\'s engaging, intelligent songwriting and sublime voice for a long time. Her wonderful collaborations with Hidden Shoal\'s <a href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship that has now come to fruition. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<i>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”</i><b><i> – </i></b><b>textura</b>\r\n\r\nNot only does her stunning discography join our publishing catalogue, but Hidden Shoal will also re-release March\'s latest album <i>Nights Bright Days</i>, along with a companion EP of previously unreleased tracks, on 4th November. Listen to and read more about Chloe March <a href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','publish','closed','closed','','chloe-march-signs-to-hidden-shoal','','','2016-02-03 16:48:37','2016-02-03 08:48:37','',0,'http://www.hiddenshoal.com/?p=10586',0,'post','',0),(10587,1,'2014-09-09 15:12:33','2014-09-09 15:12:33','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s intelligent and engaging songwriting and her sublime voice and  her wonderful collaborations with Hidden Shoal\'s  Jumpel sewed the seeds for a closer relationship. Her full back catalogue now joins the Hidden Shoal Publishing catalogue.','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-09 15:12:33','2014-09-09 15:12:33','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10588,1,'2014-09-09 15:17:49','2014-09-09 15:17:49','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s intelligent and engaging songwriting and her sublime voice and  her wonderful collaborations with Hidden Shoal\'s  Jumpel sewed the seeds for a closer relationship.\r\n\r\nNot only does her stunning  back catalogue  join the our publishing catalogue, Hidden Shoal will also be re-releasing March\'s new album <em>Nights Bright Days</em> which saw limited self-release late last year.','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-09 15:17:49','2014-09-09 15:17:49','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10589,1,'2014-09-09 15:19:51','2014-09-09 15:19:51','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s intelligent and engaging songwriting and her sublime voice and  her wonderful collaborations with Hidden Shoal\'s  Jumpel sewed the seeds for a closer relationship.\r\n\r\nNot only does her stunning  back catalogue  join the our publishing catalogue, Hidden Shoal will also be re-releasing March\'s new album <em>Nights Bright Days</em> along with a special .','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-09 15:19:51','2014-09-09 15:19:51','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10590,1,'2014-09-10 01:46:26','2014-09-10 01:46:26','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s intelligent and engaging songwriting and her sublime voice and  her wonderful collaborations with Hidden Shoal\'s  Jumpel sewed the seeds for a closer relationship.\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November .','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 01:46:26','2014-09-10 01:46:26','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10986,1,'2014-10-15 15:18:39','2014-10-15 07:18:39','<img class=\"alignleft size-thumbnail wp-image-10435\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Markus-Mehr-2014-2-150x150.jpg\" alt=\"Markus Mehr\" width=\"150\" height=\"150\" />We\'re excited to announce that the brilliant new album <a title=\"Binary Rooms\" href=\"https://markusmehr.bandcamp.com/album/binary-rooms\" target=\"_blank\"><em>Binary Rooms</em></a> from German experimentalist<a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\"> Markus Mehr </a>is now officially available. The album is available in all digital formats and as a limited edition CD. Head <a title=\"Binary Rooms\" href=\"https://markusmehr.bandcamp.com/album/binary-rooms\">here</a> to stream and purchase. <em>Binary Rooms</em> is now also part of the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing catalogue</a>, ready to be paired with suitably complex and engaging film and tv projects.\r\n\r\nMehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <a title=\"Lava\" href=\"https://markusmehr.bandcamp.com/album/lava\" target=\"_blank\"><em>Lava</em></a> to some of the more intimate moments of his 42-minute single-track opus <a title=\"Off\" href=\"https://markusmehr.bandcamp.com/album/off\" target=\"_blank\"><em>Off</em></a>, Mehr has now come to examine the most challenging space yet – that of our everyday lives and the spatial narratives that surround us. Mehr’s music has always possessed a keen sense of and negotiation with scale, and on <em>Binary Rooms</em> he challenges notions of personal space, juxtaposing the human against the industrial, the gentle and intimate against the jolting and harsh. Mehr acts as a fragment hunter, meshing machine-like tones with the discarded elements of humanity; narrative with anti-narrative. On <em>Binary Rooms</em> he manages to create a spatial remix – a striking re-design of aural reality filled with a living, digital biology.\r\n\r\nStream the album track, \'Buoy\', below and be sure to check out the stunning <a title=\"Vimeo\" href=\"https://vimeo.com/105644655\" target=\"_blank\">music video</a> by experimental filmmaker and Markus Mehr collaborator <a href=\"https://vimeo.com/sixtsense/videos\">Stefanie Sixt</a> for the track ‘Gymnasium/Swarms\'.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164970738&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>','Markus Mehr\'s \"Binary Rooms\" Now Available','','inherit','closed','closed','','10946-revision-v1','','','2014-10-15 15:18:39','2014-10-15 07:18:39','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10592,1,'2014-09-10 01:59:03','2014-09-10 01:59:03','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s engaging and  intelligent songwriting along with her sublime voice. Her wonderful collaborations with Hidden Shoal\'s <a title=\"Jumpel\" href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship.\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November .','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 01:59:03','2014-09-10 01:59:03','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10593,1,'2014-09-10 02:02:08','2014-09-10 02:02:08','We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s engaging and  intelligent songwriting along with her sublime voice. Her wonderful collaborations with Hidden Shoal\'s <a title=\"Jumpel\" href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November .','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 02:02:08','2014-09-10 02:02:08','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10594,1,'2014-09-10 02:03:57','2014-09-10 02:03:57','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"176\" height=\"176\" /></a>We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s engaging and  intelligent songwriting along with her sublime voice. Her wonderful collaborations with Hidden Shoal\'s <a title=\"Jumpel\" href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November .','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 02:03:57','2014-09-10 02:03:57','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10595,1,'2014-09-10 02:09:46','2014-09-10 02:09:46','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"176\" height=\"176\" /></a>We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s engaging and  intelligent songwriting along with her sublime voice. Her wonderful collaborations with Hidden Shoal\'s <a title=\"Jumpel\" href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November . Listen to and read more about Chloe March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 02:09:46','2014-09-10 02:09:46','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10596,1,'2014-09-10 02:24:55','2014-09-10 02:24:55','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"176\" height=\"176\" /></a>We are incredibly excited to announce the signing of Chloë March to the Hidden Shoal roster. We\'ve been long time fans of Chloë\'s engaging and  intelligent songwriting along with her sublime voice. Her wonderful collaborations with Hidden Shoal\'s <a title=\"Jumpel\" href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<em>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”<strong> – </strong></em><strong>textura</strong>\r\n\r\nNot only does her stunning  back catalogue  join our publishing catalogue, Hidden Shoal will also be re-releasing March\'s latest album <em>Nights Bright Days</em> along with a companion EP of previously un-released tracks on the 4th of November . Listen to and read more about Chloe March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 02:24:55','2014-09-10 02:24:55','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10597,1,'2014-09-10 03:48:38','2014-09-10 03:48:38','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"176\" height=\"176\" /></a>We are incredibly excited to announce the signing of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a> to the Hidden Shoal roster. We\'ve been fans of Chloë\'s engaging, intelligent songwriting and sublime voice for a long time. Her wonderful collaborations with Hidden Shoal\'s <a href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship that has now come to fruition. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<i>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”</i><b><i> – </i></b><b>textura</b>\r\n\r\nNot only does her stunning discography join our publishing catalogue, but Hidden Shoal will also re-release March\'s latest album <i>Nights Bright Days</i>, along with a companion EP of previously unreleased tracks, on 4th November. Listen to and read more about Chloe March <a href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 03:48:38','2014-09-10 03:48:38','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10598,1,'2014-09-10 04:43:52','2014-09-10 04:43:52','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"193\" height=\"193\" /></a>We are incredibly excited to announce the signing of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a> to the Hidden Shoal roster. We\'ve been fans of Chloë\'s engaging, intelligent songwriting and sublime voice for a long time. Her wonderful collaborations with Hidden Shoal\'s <a href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship that has now come to fruition. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<i>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”</i><b><i> – </i></b><b>textura</b>\r\n\r\nNot only does her stunning discography join our publishing catalogue, but Hidden Shoal will also re-release March\'s latest album <i>Nights Bright Days</i>, along with a companion EP of previously unreleased tracks, on 4th November. Listen to and read more about Chloe March <a href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 04:43:52','2014-09-10 04:43:52','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10599,1,'2014-09-10 04:44:06','2014-09-10 04:44:06','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"204\" height=\"204\" /></a>We are incredibly excited to announce the signing of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a> to the Hidden Shoal roster. We\'ve been fans of Chloë\'s engaging, intelligent songwriting and sublime voice for a long time. Her wonderful collaborations with Hidden Shoal\'s <a href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship that has now come to fruition. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<i>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”</i><b><i> – </i></b><b>textura</b>\r\n\r\nNot only does her stunning discography join our publishing catalogue, but Hidden Shoal will also re-release March\'s latest album <i>Nights Bright Days</i>, along with a companion EP of previously unreleased tracks, on 4th November. Listen to and read more about Chloe March <a href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 04:44:06','2014-09-10 04:44:06','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10600,1,'2014-09-10 04:44:22','2014-09-10 04:44:22','<a href=\"http://www.hiddenshoal.com/project/chloe-march/\"><img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"208\" height=\"208\" /></a>We are incredibly excited to announce the signing of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a> to the Hidden Shoal roster. We\'ve been fans of Chloë\'s engaging, intelligent songwriting and sublime voice for a long time. Her wonderful collaborations with Hidden Shoal\'s <a href=\"http://www.hiddenshoal.com/project/jumpel/\">Jumpel </a>sowed the seeds for a closer relationship that has now come to fruition. Oft compared to singular artists such as Nina Simone, Beth Gibbons and Elizabeth Fraser, March follows her own independent path, writing, engineering and producing from her home studio in south-east England. Inhabiting musical territory somewhere between art song and folk, dream-pop and electronica, the ambient and the cinematic, March embraces all these influences to create poetic, emotionally charged and intensely atmospheric songs and soundworlds.\r\n\r\n<i>“a luminous voice, a smoky alto that unfurls like a plume of cigarette smoke, its velvety tone a sensual narcotic… it’s hard not to think of the mythological sirens who used their hypnotic voices to lure sailors ashore”</i><b><i> – </i></b><b>textura</b>\r\n\r\nNot only does her stunning discography join our publishing catalogue, but Hidden Shoal will also re-release March\'s latest album <i>Nights Bright Days</i>, along with a companion EP of previously unreleased tracks, on 4th November. Listen to and read more about Chloe March <a href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/167026504&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\nChloë March - \'Soft Rain\' (from the 2008 album <em>Divining)</em>','Chloë March Signs to Hidden Shoal','','inherit','closed','closed','','10586-revision-v1','','','2014-09-10 04:44:22','2014-09-10 04:44:22','',10586,'http://www.hiddenshoal.com/10586-revision-v1/',0,'revision','',0),(10601,1,'2014-09-10 05:28:51','2014-09-10 05:28:51','','Impossible Cities','','inherit','closed','closed','','impossible-cities-1000px','','','2014-09-10 05:28:51','2014-09-10 05:28:51','',10573,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/Impossible-Cities-1000px.jpg',0,'attachment','image/jpeg',0),(10602,1,'2014-09-10 05:30:33','2014-09-10 05:30:33','<img class=\"alignleft  wp-image-10601\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Impossible-Cities-1000px-300x300.jpg\" alt=\"Impossible Cities\" width=\"191\" height=\"191\" />In advance of the release of <a title=\"Todd Tobias\" href=\"http://hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>\'s new album <em>Impossible Cities</em>, the eagerly awaited follow-up to <a title=\"Medicine Show\" href=\"http://hiddenshoal.com/project/todd-tobias/\"><em>Medicine Show</em></a>, we\'re excited to present a video for the track \'Saz\'. With its fire-scorched visuals, the new video evokes the fuzzy, tribal lurch of the track itself, carving a voodoo groove that\'s deeply satisfying.\r\n\r\n<em>Impossible Cities</em> drops on the 28th of October and will include the bonus EP <em>Impossible Cities</em> 2. The album is being released on CD in Europe by the wonderful <a title=\"Tiny Room Records\" href=\"http://www.tinyroom.nl/\" target=\"_blank\">Tiny Room Records</a> and by Todd Tobias &amp; Hidden Shoal everywhere else.','First Taste of Forthcoming Todd Tobias Album','','inherit','closed','closed','','10573-revision-v1','','','2014-09-10 05:30:33','2014-09-10 05:30:33','',10573,'http://www.hiddenshoal.com/10573-revision-v1/',0,'revision','',0),(10603,1,'2014-09-11 08:57:18','2014-09-11 08:57:18','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10625 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped.jpg\" alt=\"Kramies\" width=\"418\" height=\"259\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n<h5 style=\"text-align: justify;\"><b>Do you remember the first song you wrote?</b></h5>\r\n<p style=\"text-align: justify;\">Surprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.</p>\r\n\r\n<h5 style=\"text-align: justify;\"><b>Can you tell us a little about your early music career? How did it shape what you do now?</b></h5>\r\n<p style=\"text-align: justify;\">I was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.</p>\r\n\r\n<h5 style=\"text-align: justify;\"><b>Can you tell us a little about your songwriting process?</b></h5>\r\n<p style=\"text-align: justify;\">It seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h5 style=\"text-align: justify;\"><b>Does living in the mountains influence your songwriting?</b></h5>\r\n<p style=\"text-align: justify;\">Yes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.</p>\r\n&nbsp;\r\n<h5 style=\"text-align: justify;\"><b>The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b></h5>\r\n<p style=\"text-align: justify;\">Wow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h5 style=\"text-align: justify;\"><b>How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b></h5>\r\n<p style=\"text-align: justify;\">Well, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\"><i>The Wooden Heart</i></a>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.</p>\r\n<p style=\"text-align: justify;\">Grant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\"><i>The Folklore Sessions</i></a> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<h5 style=\"text-align: justify;\"><b>Can you tell us what you do outside of making music?</b></h5>\r\n<p style=\"text-align: justify;\">I do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.</p>\r\n\r\n<h5 style=\"text-align: justify;\"><b>What’s spinning on the Kramies stereo at the moment?</b></h5>\r\n<p style=\"text-align: justify;\">I have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.</p>\r\n\r\n<h5 style=\"text-align: justify;\"><b>Is it true that you share a house with Neil Diamond?</b></h5>\r\n<p style=\"text-align: justify;\">Ha! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.</p>\r\n\r\n<h5 style=\"text-align: justify;\"><b>What’s next for Kramies?</b></h5>\r\n<p style=\"text-align: justify;\">There’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.</p>\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','publish','closed','closed','','neil-diamond-jason-lytle-and-ghost-hunters-an-interview-with-kramies','','','2014-10-13 14:29:21','2014-10-13 06:29:21','',0,'http://www.hiddenshoal.com/?p=10603',0,'post','',0),(10604,1,'2014-09-10 08:09:23','2014-09-10 08:09:23','American singer-songwriter Kramies has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His two Hidden Shoal EPs, <i>The European</i> and <i>The Wooden Heart</i>, have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:09:23','2014-09-10 08:09:23','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10605,1,'2014-09-10 08:13:08','2014-09-10 08:13:08','American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:13:08','2014-09-10 08:13:08','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10606,1,'2014-09-10 08:19:25','2014-09-10 08:19:25','<img class=\"alignleft size-full wp-image-7527\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/12/Kramies-Sea-Otter-Frame-Small.jpg\" alt=\"Kramies\" width=\"300\" height=\"169\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:19:25','2014-09-10 08:19:25','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10607,1,'2014-09-10 08:23:00','2014-09-10 08:23:00','<img class=\"alignright wp-image-7527 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/12/Kramies-Sea-Otter-Frame-Small.jpg\" alt=\"Kramies\" width=\"300\" height=\"169\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:23:00','2014-09-10 08:23:00','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10608,1,'2014-09-10 08:23:59','2014-09-10 08:23:59','<img class=\"alignright wp-image-7527 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/12/Kramies-Sea-Otter-Frame-Small.jpg\" alt=\"Kramies\" width=\"300\" height=\"169\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:23:59','2014-09-10 08:23:59','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10609,1,'2014-09-10 08:26:14','2014-09-10 08:26:14','<img class=\"alignright wp-image-7527 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/12/Kramies-Sea-Otter-Frame-Small.jpg\" alt=\"Kramies\" width=\"300\" height=\"169\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n&nbsp;\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n&nbsp;\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n&nbsp;\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Interview with Kramies','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:26:14','2014-09-10 08:26:14','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10611,1,'2014-09-10 08:40:12','2014-09-10 08:40:12','','Kramies','','inherit','closed','closed','','kramies-sea-otter-frame','','','2014-09-10 08:40:12','2014-09-10 08:40:12','',10603,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg',0,'attachment','image/jpeg',0),(10610,1,'2014-09-10 08:28:39','2014-09-10 08:28:39','<img class=\"alignright wp-image-7527 size-full\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2013/12/Kramies-Sea-Otter-Frame-Small.jpg\" alt=\"Kramies\" width=\"300\" height=\"169\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n&nbsp;\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n&nbsp;\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n&nbsp;\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n&nbsp;\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:28:39','2014-09-10 08:28:39','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10612,1,'2014-09-10 08:40:45','2014-09-10 08:40:45','<img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"566\" height=\"318\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:40:45','2014-09-10 08:40:45','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10619,1,'2014-09-10 08:43:52','2014-09-10 08:43:52','<img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"523\" height=\"294\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.\r\n\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:43:52','2014-09-10 08:43:52','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10613,1,'2014-09-10 08:41:20','2014-09-10 08:41:20','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"566\" height=\"318\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:41:20','2014-09-10 08:41:20','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10614,1,'2014-09-10 08:41:41','2014-09-10 08:41:41','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"596\" height=\"335\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:41:41','2014-09-10 08:41:41','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10615,1,'2014-09-10 08:41:59','2014-09-10 08:41:59','<p style=\"text-align: left;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"596\" height=\"335\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:41:59','2014-09-10 08:41:59','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10616,1,'2014-09-10 08:42:17','2014-09-10 08:42:17','<p style=\"text-align: left;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"530\" height=\"298\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:42:17','2014-09-10 08:42:17','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10617,1,'2014-09-10 08:42:50','2014-09-10 08:42:50','<p style=\"text-align: left;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"523\" height=\"294\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:42:50','2014-09-10 08:42:50','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10618,1,'2014-09-10 08:43:13','2014-09-10 08:43:13','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"523\" height=\"294\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n\r\n<b>1. Do you remember the first song you wrote?</b>\r\n\r\nSurprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.\r\n\r\n&nbsp;\r\n\r\n<b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b>\r\n\r\nI was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.\r\n\r\n&nbsp;\r\n\r\n<b>3. Can you tell us a little about your songwriting process?</b>\r\n\r\nIt seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>4. Does living in the mountains influence your songwriting?</b>\r\n\r\n&nbsp;\r\n\r\nYes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.\r\n\r\n&nbsp;\r\n\r\n<b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b>\r\n\r\n&nbsp;\r\n\r\nWow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b>\r\n\r\nWell, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.\r\n\r\n&nbsp;\r\n\r\nGrant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n\r\n<b>7. Can you tell us what you do outside of making music?</b>\r\n\r\nI do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.\r\n\r\n&nbsp;\r\n\r\n<b>8. What’s spinning on the Kramies stereo at the moment?</b>\r\n\r\nI have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.\r\n\r\n&nbsp;\r\n\r\n<b>9. Is it true that you share a house with Neil Diamond?</b>\r\n\r\nHa! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.\r\n\r\n&nbsp;\r\n\r\n<b>10. What’s next for Kramies?</b>\r\n\r\nThere’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.\r\n\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:43:13','2014-09-10 08:43:13','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10625,1,'2014-09-10 08:56:12','2014-09-10 08:56:12','','Kramies','','inherit','closed','closed','','kramies-sea-otter-frame-cropped','','','2014-09-10 08:56:12','2014-09-10 08:56:12','',10603,'http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame-Cropped.jpg',0,'attachment','image/jpeg',0),(10621,1,'2014-09-10 08:45:20','2014-09-10 08:45:20','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"523\" height=\"294\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>1. Do you remember the first song you wrote?</b></p>\r\n<p style=\"text-align: justify;\">Surprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.</p>\r\n<p style=\"text-align: justify;\"><b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b></p>\r\n<p style=\"text-align: justify;\">I was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.</p>\r\n<p style=\"text-align: justify;\"><b>3. Can you tell us a little about your songwriting process?</b></p>\r\n<p style=\"text-align: justify;\">It seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>4. Does living in the mountains influence your songwriting?</b></p>\r\n<p style=\"text-align: justify;\">Yes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b></p>\r\n<p style=\"text-align: justify;\">Wow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b></p>\r\n<p style=\"text-align: justify;\">Well, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.</p>\r\n<p style=\"text-align: justify;\">Grant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>7. Can you tell us what you do outside of making music?</b></p>\r\n<p style=\"text-align: justify;\">I do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.</p>\r\n<p style=\"text-align: justify;\"><b>8. What’s spinning on the Kramies stereo at the moment?</b></p>\r\n<p style=\"text-align: justify;\">I have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.</p>\r\n<p style=\"text-align: justify;\"><b>9. Is it true that you share a house with Neil Diamond?</b></p>\r\n<p style=\"text-align: justify;\">Ha! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.</p>\r\n<p style=\"text-align: justify;\"><b>10. What’s next for Kramies?</b></p>\r\n<p style=\"text-align: justify;\">There’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.</p>\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:45:20','2014-09-10 08:45:20','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10620,1,'2014-09-10 08:44:43','2014-09-10 08:44:43','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"523\" height=\"294\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>1. Do you remember the first song you wrote?</b></p>\r\n<p style=\"text-align: justify;\">Surprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\"><b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b></p>\r\n<p style=\"text-align: justify;\">I was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\"><b>3. Can you tell us a little about your songwriting process?</b></p>\r\n<p style=\"text-align: justify;\">It seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>4. Does living in the mountains influence your songwriting?</b></p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\">Yes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b></p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\">Wow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b></p>\r\n<p style=\"text-align: justify;\">Well, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\">Grant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>7. Can you tell us what you do outside of making music?</b></p>\r\n<p style=\"text-align: justify;\">I do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\"><b>8. What’s spinning on the Kramies stereo at the moment?</b></p>\r\n<p style=\"text-align: justify;\">I have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\"><b>9. Is it true that you share a house with Neil Diamond?</b></p>\r\n<p style=\"text-align: justify;\">Ha! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.</p>\r\n<p style=\"text-align: justify;\"></p>\r\n<p style=\"text-align: justify;\"><b>10. What’s next for Kramies?</b></p>\r\n<p style=\"text-align: justify;\">There’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.</p>\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:44:43','2014-09-10 08:44:43','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10622,1,'2014-09-10 08:50:38','2014-09-10 08:50:38','<p style=\"text-align: justify;\"><img class=\"alignright wp-image-10611 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Kramies-Sea-Otter-Frame.jpg\" alt=\"Kramies\" width=\"491\" height=\"276\" />American singer-songwriter <a title=\"Kramies\" href=\"http://www.hiddenshoal.com/project/kramies/\">Kramies</a> has been honing his inimitable craft for many years, bewitching all who have heard his music along the way. Fusing masterful songwriting with electronics and atmospherics, stepping into a Kramies song means being swept up into an emotionally resonant vortex of swooning pop that simply demands repeat listens. His three Hidden Shoal studio EPs, <a title=\"The European\" href=\"https://kramies.bandcamp.com/album/the-european\" target=\"_blank\"><i>The European</i></a>, <a title=\"The Wooden Heart\" href=\"https://kramies.bandcamp.com/releases\" target=\"_blank\"><i>The Wooden Heart</i></a><i> and <a title=\"The Folklore Sessions\" href=\"https://kramies.bandcamp.com/album/the-folklore-sessions\" target=\"_blank\">The Folklore Sessions</a></i> have been released to universal acclaim from around the world. We posed Kramies a few curly questions in order to delve a little into his music, his life and his creative process.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>1. Do you remember the first song you wrote?</b></p>\r\n<p style=\"text-align: justify;\">Surprisingly I do. I remember mostly trying to make sounds with non-musical stuff. It’s weird because I remember being really young, around 9 years old, and liking the way my S\'s sounded when I would put a pen cap under my lips. Ha! Or using a paper towel roll to sing through because I thought it made my voice sound distant. I’m not sure I should even share that stuff! Anyway, I believe the first song I ever wrote was called ‘Daisy’. I must have been 14. I used the paper towel roll effect and that\'s when I started experimenting with a 4-track cassette recorder. It felt like such a big deal back then. I was the only kid with a 4-track and I made this \'thing\' called ‘Daisy’! Ha! I\'m sure I still have it somewhere. Fortunately I have forgotten every other song between that first one and the last 4 years, though.</p>\r\n<p style=\"text-align: justify;\"><b>2. Can you tell us a little about your early music career? How did it shape what you do now?</b></p>\r\n<p style=\"text-align: justify;\">I was pretty shy and I’m sure the main reason I fell into music was because I received a little Casio keyboard and a toy acoustic guitar for Christmas. If it had been a toy ‘Easy Bake Oven’ that Christmas I probably would have pursued being a pastry chef. My shyness combined with these two instruments took up most my time. I was pretty bad, but I remember playing everything from my emotions. From there I joined a few bands in my town, but was not that great a player. In fact, one time I left my guitar at band practice and the guys carved ‘You suck’ into it, so I switched to bass! No one played bass in my town, so all of a sudden I was playing in the older kids’ bands and doing a ton of stuff musically. Still, I loved writing so I decided I would have to start and front my own bands. A few of those bands did some cool bigger things, but I always felt more comfortable writing and recording the stuff in my head more than being in a band. I always viewed writing songs and albums more like writing little books. It’s more of a personal adventure for me. I do believe working with a band helped me understand how to piece parts together while writing, but most of all it helped me become comfortable with what I do and to trust my instincts more.</p>\r\n<p style=\"text-align: justify;\"><b>3. Can you tell us a little about your songwriting process?</b></p>\r\n<p style=\"text-align: justify;\">It seems to come in bursts, but mostly my songwriting starts with an image – something I see that sits in my head and then takes over my heart. It could be weeks or months before I start hearing it, then it seems to form into a phrase and melody that sparks a whole story. I usually write most of my stuff on acoustic guitar and write the lyrics first. I can spend days obsessing over the same three chords and mumbling the same words over and over. Then if I find myself waking up with the song parts still in my head, I won’t stop writing till it’s done. From there I\'ll make a crappy demo of it and start writing and layering the other parts. I think it’s pretty basic, but for me the biggest part is to capture emotion and the image that originally started to grow in my mind. I become a bit like an obsessive crazy scientist over the process.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/108752237&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>4. Does living in the mountains influence your songwriting?</b></p>\r\n<p style=\"text-align: justify;\">Yes, tremendously. I think living near anything naturally beautiful like the mountains, which are so big and expansive, makes my mind wander. It wanders past normal everyday activities, which helps inspire my writing – it has such a huge effect on me. It feels very comforting to me to know I can get lost for a while in the mountains. Oceans have the same wonderful effect. I feel there is such a warm silence and understanding with nature that helps whatever songs I’m working on.</p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><b>5. The lyrical themes in your work have such a vivid melancholic romanticism about them. They pair beautifully with the atmosphere of the songs and the production. Where does this lyrical imagery come from?</b></p>\r\n<p style=\"text-align: justify;\">Wow, thank you, that’s so nice to hear! The lyrics have always been the most important part to me. I keep them very close to my heart. I never understood really where they come from or if they have meaning, but they definitely reflect an image or a story. I always seem to have a love for hauntingly romantic words. I don\'t know where it comes from, but castles, ghosts of the past, old world imagery and poetic scenery always seem to influence my writing. I do remember at an early age wanting to just be a writer, but the music really helps push a story to a higher emotional range for me and helps create a kind of frame to sing through.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/113293421&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>6. How did your collaborations with Jason Lytle (Grandaddy) and Grant Wilson (</b><b><i>Ghost Hunters</i></b><b>) come about?</b></p>\r\n<p style=\"text-align: justify;\">Well, it’s a short blurry story that starts in the late 1990s. First, my bands back in the ’90s opened and played for a handful of great bands like Calexico, Spiritualized, Red House Painters and Grandaddy. Jason and I had some mutual friends and hung out in groups a few times. It wasn’t until around 2012 that we reconnected and  started chatting about him producing a few of the songs for my EP <i>The Wooden Heart</i>. He is such a nice person and I was just blown away by how he turned all the simple little parts and songs I recorded into these bigger, more emotionally exposed and mature pieces.</p>\r\n<p style=\"text-align: justify;\">Grant and I first had a strange brief meeting. It’s funny because I’ve watch his show <i>Ghost Hunters</i> on SyFy a lot and I was just doing a radio show and the interviewer mentioned how I seemed influenced by ghosts and haunting imagery, so he asked if I ever watched <i>Ghost Hunters</i>. Well, that same day, after the radio show, I visited the Stanley Hotel, and literally ran into Grant in the lobby of the hotel! It wasn\'t until a few years later, when I discovered his beautiful piano music once <i>The Wooden Heart</i> was released, that I sent him a few songs. We share a love for the same musical sound. I was working on an acoustic follow-up to <i>The Wooden Heart</i> called <i>The Folklore Sessions</i> and asked him if he would like to play piano on a few tracks. It was a wonderful experience and I was blown away by how much beauty he added to my simple songs. Both Jason and Grant are amazing and very easy to work with.</p>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/150581449&amp;color=ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false\" width=\"100%\" height=\"166\" frameborder=\"no\" scrolling=\"no\"></iframe>\r\n<p style=\"text-align: justify;\"><b>7. Can you tell us what you do outside of making music?</b></p>\r\n<p style=\"text-align: justify;\">I do a lot of art stuff. I seem to stay pretty creative. I find myself lost in mountain storms while on runs and I enjoy visiting little towns. I run a lot and I do a lot of yoga and meditation. But mostly I explore.</p>\r\n<p style=\"text-align: justify;\"><b>8. What’s spinning on the Kramies stereo at the moment?</b></p>\r\n<p style=\"text-align: justify;\">I have a weird thing where I barely listen to music until I hear something that really pulls at my heart, then I listen to it a thousand times. So I’m not so good with what’s happening now and what’s new these days. I have Joanna Newsom, some older Jane’s Addiction, Glen Hansard, Indians, and Simon &amp; Garfunkel in my stereo right now. Also there is a wonderful French band I love called A Singer Must Die too. There is a ton of wonderful Hidden Shoal artists as well.</p>\r\n<p style=\"text-align: justify;\"><b>9. Is it true that you share a house with Neil Diamond?</b></p>\r\n<p style=\"text-align: justify;\">Ha! Yes, it’s true. Neil Diamond the cat dwells within my home. My wife actually named him Neil Diamond because of the white diamond on his chest – and the name stuck. He\'s a bit of a celebrity here. He\'s also known as The Creeper because you won’t see him for a while and then you’ll notice just his eyes and big grey head watching you from afar. He’s a very interesting creature and he lays next to me while I write.</p>\r\n<p style=\"text-align: justify;\"><b>10. What’s next for Kramies?</b></p>\r\n<p style=\"text-align: justify;\">There’s an overseas tour that\'s been postponed twice, but will actually happen this spring. I’m working on a new EP for 2015, and before that I will have a sort of obscure B-side release and a single with special guests and some new friends. Also, a few more interviews and live videos before I hide away to finish writing the new EP.</p>\r\n&nbsp;\r\n\r\n<iframe src=\"//www.youtube.com/embed/uM1_Ov-ont0?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Neil Diamond, Jason Lytle and Ghost Hunters - An Interview with Kramies ','','inherit','closed','closed','','10603-revision-v1','','','2014-09-10 08:50:38','2014-09-10 08:50:38','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0);
