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<h1>Summon The Birds</h1>
<a href="http://www.hiddenshoal.com/wp-content/uploads/2017/06/Summon-The-Birds.jpg"><img class="alignleft wp-image-15480 size-medium" src="http://www.hiddenshoal.com/wp-content/uploads/2017/06/Summon-The-Birds-300x200.jpg" alt="Summon The Birds" width="300" height="200" /></a>Summon the Birds flash out the shadows of the sky, spinning tales of fallen kings, dissected criminals, Arctic exploration, cloud riding and London rain. The canvas weaving these disparate threads together is the ornate musical setting in which the song-stories become an unflinching and expanding whole. Imagine latter-day Talk Talk picking the locks to Spoon’s basement as The Drones circle, restless, looking for the pink pill...

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<h3>Discography</h3>
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<h4>We Don't Look Back For Very Long (with Slow Dancing Society)</h4>
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<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.
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<h4>Lost In Waves of Light</h4>
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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.
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<h4>The Licence To Interpret Dreams</h4>
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<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>
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<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"]
<h3>Biography</h3>
Summon the Birds began in 2007, when singer-songwriter Jonathan Shaw and bassist/producer Peter Woodlands kicked up an idea for a record called <i>48</i>, based on the iChing. Kris Arrowsmith joined on drums, with guitarist Tim Clarke seduced into the fray after the dissolution of instrumental shoegaze band Bury the Sound. <i>48</i> saw release in 2012, launched alongside Melbourne space-rock compatriots All India Radio, closely followed by single ‘Digger’ in 2013.

The seeds of second album <i>Blood Love</i> were sown back in 2009, with song sketches dreamt up by Shaw massaged into shape in the band’s Hurstbridge rehearsal room. These new songs had a lyrical intensity that lent itself to a more dynamic musical setting, inspired by Clarke’s measured guitar playing, tracing itself like gold wire over the regal patter of Arrowsmith’s drums and Woodlands’ bass runs. Labyrinthine pieces like ‘The Anatomy Lesson’ – based on the famous painting by Rembrandt – nine-minute opus ‘Journey to the Centre of the Earth’ and instrumental tracks ‘Tactile Hallucination’ and ‘Cloud Cars’ began to realise the reach of the band’s ambition.

In 2014, bassist Drew Corby replaced original member Peter Woodlands, and the recording of <i>Blood Love</i> began in earnest, bolstered by Paul Spurling on keyboards, Marlene Samson on backing vocals, and Adrian Perger on horns. Producer and engineer Tim Johnston (Nick Cave &amp; The Bad Seeds, The Dandy Warhols, The Drones) oversaw the sessions and lent his golden ears to the mixes, and the album was mastered by John Ruberto (Courtney Barnett, The Drones, Electric Mary).

<i>Blood Love</i> is dedicated to the late Peter Woodlands, who died far too soon, but whose song rings on in the vault of the endless sky.

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<h3>News</h3>
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<h2>Reviews</h2>
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<h3>Lyrics</h3>
No lyrics list as yet.

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<h3>Artist Photos</h3>
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<h3>Music Videos</h3>
No music videos as yet.

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<h3>Licensing</h3>
Summon The Birds 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.

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