INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES (10845,1,'2014-10-03 11:23:08','2014-10-03 03:23:08','<img class=\"alignleft wp-image-9141 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Drew-Sullivan-2014-300x300.jpg\" alt=\"Slow Dancing Society\" width=\"204\" height=\"204\" /><a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a> is the moniker of ambient composer and sonic wunderkind Drew Sullivan, who’s responsible for some of the most ethereal and compelling pieces in Hidden Shoal’s catalogue. Through six albums over eight years, the evocative textures in Sullivan’s body of work play out like soundtracks to movies that don’t exist. From the nostalgic crescendos of <em><a title=\"Priest Lake Circa \'88\" href=\"https://slowdancingsociety.bandcamp.com/album/priest-lake-circa-88\" target=\"_blank\">Priest Lake Circa ‘88</a></em> to the Eno-meets-Vangelis minimalism of his latest record <a title=\"The Cogent Sea\" href=\"https://slowdancingsociety.bandcamp.com/album/the-cogent-sea\" target=\"_blank\"><em>The Cogent Sea</em></a>, Sullivan is a master of manipulating mood and emotion through sound. In this new feature on Hidden Shoal, our own Matthew Tomich spoke with Sullivan about his favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><b><i>Edward Scissorshands</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> In chronological order that’d be the best one, because that was probably my first introduction to really enjoying score music for films. I was always into movies at a young age so I always felt like I was aware of what was going on musically. Because when you’re six, seven or eight, you’ve got your favourite movies, and I kind of tended to watch a lot of adult movies. My dad would watch them with me and I attribute a lot of my love for things of the ’80s to my dad. And my mom – she played a lot of ’80s music for me. I’m 34, so in 1984 I was 4 years old, so a lot of the movies of that time that I really like I should not have ever seen. So dad watching them with me and always saying, “Oh, that doesn’t really happen that way” – it was funny, I had a really good sense of what was real at a young age.\r\n\r\nBut back to that movie – Danny Elfman I think had a kind of – and still does – a very unique style. He’s kind of ran his course; it’s always the same sound now, but it was this very phantasmic, fairytale sort of sound, and I think I attribute a lot of my ideas for melodies and usage of certain sounds like choirs and those kinds of vocal overtones and bells from him and from that soundtrack. I still love that soundtrack. It’s funny, I had it on tape of course at the time, and they always say you wear it out, but I truly did wear that tape out. But it made me think that if you ever listen to a brand new cassette tape, it doesn’t sound like a warbly tape like all these new plugins make your old vintage music sound like. And I think the reason why people want that tape sound is that if you have an album or favourite music you wore the hell out of, it started to warble, and the tape started to disintegrate, and that’s why we have that sound. It’s almost more about the memory of a sound than the actual quality because tape was a quality device back then. But I loved that soundtrack, I still listen to it today.\r\n\r\n<iframe src=\"//www.youtube.com/embed/M94yyfWy-KI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>When you’ve listened to a soundtrack so much, are you almost listening to it first than watching it – rather than waiting for a scene, you’re waiting for a refrain or a melody?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. It’s funny – I’m kind of like that with a lot of movies, even modern ones where I know the score really well. I tend to go watch a movie because of the composer, and I’ve been turned on to a lot of movies because of composers that I probably wouldn’t have normally chosen to see. So I tend to be anticipating that next cue in the movie, and it’s a weird way of watching a movie. I don’t think a lot of people probably view movies that way. A lot of composers will say, “If you don’t recognise that my music is playing in the background then I’ve done a good job because I’ve just made that a seamless moment where the music has underscored the scene.”\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>One thing I noticed with that and with a lot of Danny Elfman soundtracks I’ve heard is the sense of a dark, carnivalesque sound to it – it’s playful, but there’s that eerie undertone.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And it really fits Burton’s vision really well. You see a lot of composers – and we’ll talk a little later about Cliff Martinez, he and Steven Soderbergh have worked so many times together – and I think there are certain directors that just really mesh and the sound of someone’s music just works with their vision. I just watched <i>Beetlejuice</i> last night, it was on TV, and again it’s that quintessential Danny Elfman sound – it’s a very playful but dark sound. He did a score for a movie called <i>Nightbreed</i> which really flew under the radar, and that’s a really good score that no one really talks about. It’s very tribal. The movie is about this tribe of monsters that live underneath a graveyard, which sounds really stupid when you say it, but it’s a Clive Barker story and it’s really good. But his score in that is very good, very nice. Not as playful – it’s much more the darker style.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Listening to <i>Edward Scissorshands</i> and then listening to your stuff afterwards, I was expecting to hear some of those influences, but it wasn’t really coming through, because your music is a lot more contemplative, serious, and for a lack of a better expression, highbrow. Is <i>Nightbreed</i> closer to the tone that you go for or closer to what you take from Elfman’s music?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> You know, I was laughing to myself the other day about this, where I have all these influences that I state all the time, and a lot of times they won’t shine through in what I do. One of my favourite albums that I was really passionate about was the <i>Priest Lake Circa ‘88</i> album and I tell everyone that that was my attempt at making a hair metal album. Probably three quarters of the album was original material that I had sent to Cam Merton [at Hidden Shoal] and he was like, “No way is this going to work.” So when I look back on it, it was a pretty ambitious move to make such an album. So what I did was the typical re-editing and mixing and washing it in reverb and delay and it turned out to be way better than what I initially went out for. It was a perfect thing to happen because when I listen to that album now, I can totally hear hair metal music in it for me, because there’s all sorts of soaring guitars in there that were delayed and reverbed as I’d said, but it takes on the way we remember music as opposed to the way the music actually sounded.\r\n\r\nIt was kind of like <i>Priest Lake</i> was supposed to be a memory of a time in my life. And it’s going to be like all memories – it’s going to be fuzzy around the edges, a lot of it’s going to be probably wrong from the way it actually happened, and everyone’s interpretation’s going to be a little different. Because when I still listen to hair metal music today, it brings me back to those moments of my childhood, but it doesn’t quite sound as grand and as luxurious or epic to me as it did then. And that’s understandable, but I think that’s what I try to do with most of my influences – take the way they made me feel – and that’s probably where the contemplative tone comes through. You’re longing for those days of when life was just a little bit easier and there were no diapers.\r\n\r\n&nbsp;\r\n<h4><b><i>Stay</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That’s a good example of how I say that I found out about the movie through the people that did the score. The guys that did that – Ashe and Spencer – they’re kind of a unique scoring company because there are like 8 to 15 people for that company. Ashe and Spencer are the two main original guys, but they have these revolving musicians that come through and do stuff for them. It’s a very co-op sort of vibe. They did a movie called <i>Monsters Ball</i> with Heath Ledger and Billy Bob Thornton, and that was a great movie and I really liked that score, and because I saw on IMDb that they were scoring <i>Stay</i>, I went to go watch it one night and that movie turned out to be just an incredibly visually stunning movie, and their music was so perfect for it. The way in which each scene melded into the next scene was like – there’d be a scene where they’re driving by the Brooklyn Bridge and one of the main – I guess I’d say tower portions of that bridge – melded into the next scene, which was a chess board with a Brooklyn-themed chess piece. And it wasn’t cheesy; it was really well done CGI. So the movie is a very dream state movie that I won’t spoil it because the ending is necessary to understand the whole vibe of the movie, but those guys on that movie, their score was so good.\r\n\r\nThat score was in 2004 and that was right around when I was working on <i>The Sound of Lights When Dim</i>, and so I didn’t really have the wherewithal or I guess the experience to really know how to manipulate sound as well as I’ve gotten to the point now over the experience of time, but they had a behind-the-scenes featurette on that score which is on the DVD about how they did the music, and it was really impressive and amazing how they made a lot of their sounds. Very organic, lack of plug-ins. One particular thing that stuck with me is they took a piano and recorded every single note through an old tape machine, and one of the tape heads was rotten and broken, and they would actually touch the tape throughout each piece. And so then they had every key of the piano recorded, and then they would map those audio files to a MIDI keyboard. Then they played it through a plug-in of sorts or a sampler, but each key would have a very unique characteristic when you’d play a chord, and I guess the piano was kind of – it wasn’t even like a warble, it was just this very otherworldly sounding piano, and it’s just amazing.\r\n\r\n<iframe src=\"//www.youtube.com/embed/KIk5rfA5uWE?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> <span style=\"color: #c0c0c0;\">That one more so than the Elfman soundtrack, I could hear a lot more of that in your music. And I like how it had that scrape of metal synthetic sound to it. You mentioned the organic approach they took – is that something you try to do a lot of</span></b><span style=\"color: #c0c0c0;\">?</span>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. I don’t have as much of an ability to do field recordings or record pianos that way, so I probably tend to do it a lot longer – or at least my workaround, for lack of a better word – is a lot longer than it probably needs to be, because I don’t have a piano. I have a VST of a piano so I’ll take notes and kind of record those notes and mangle it a little with plugins that I have, and then put it back into the track. So I may have 15 individual tracks to make one piano chord just to try to make that sound. So it’s a lot harder workaround, but I don’t have the tape machine or the microphones to do that.\r\n\r\n&nbsp;\r\n<h4><b><i>Traffic</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That came out a couple of years before <i>Stay</i> but I remember seeing that movie – because it was a pretty big, popular movie at the time – and I remember the very end of the movie, it wasn’t even a Cliff Martinez song, it was ‘An Ending (Ascent)’ by Brian Eno. And that was probably the first time I’d ever heard that song, actually, which is funny, because everyone always assumes as an ambient artist that Eno is a big influence, and I didn’t discover him until very, very late into my musical ambitions. And he still is, but that song is just one of those perfect songs where the melody and the chord progression is amazing. It’s very simple. I mean really, there’s one instrument – I’m sure there are probably a couple of different tracks and layers, but it’s really just one synthesizer. There’s not a lot of layers and I tend to be excessive in layering of music – you know, the whole less is more – but that song is perfect. So that really got me to pay attention to the score and go back and hear it. That was what began my love affair with Cliff Martinez, is that score.\r\n\r\n<iframe src=\"//www.youtube.com/embed/qNgvVVjgK68?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS:</b></span> Interesting you mentioned Eno and that minimalistic take, because he composed the Windows 95 start-up sound. He often worked on that microscopic level where you’re dealing with fractions of a second. You said that you work on the opposite to the less is more scale, but do you ever get that meticulous?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Well yeah, because what I’ve found with a lot of my favourite musicians that aren’t influences – just music I like to listen to – is that the more and more, you can always pick up something from a rock band or even a house track in the way it’s produced and the way the sounds work together – that timbre, so to speak, of the instruments. And I find that a lot of times, these sounds that we think we’re hearing as another layer is not so much another layer of music but actually the two tones of each individual instrument playing together, and even that sort of silence in between those instruments serves as an instrument in and of itself; it kind of fills in those gaps. So I try to really approach those minimalistic things and really get back to it. Once it gets too busy, it’s just that – there’s too much going on; you can’t really focus on just the decay of a certain sound. And then at that point when you’ve got too much going on, it’s going to get muddy, everything’s going to start fighting for its own place in the mix, and you’ve just got a discombobulated sound. A good example on that <i>Stay </i>soundtrack is there are a lot of portions in that music where the piano note will just ring and then that note will decay and reverse and pull it back and pan it left. It’s taking one single sound and really abusing, so to speak, the nature of that one sound.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>In terms of how soundtracks and composers work – do you ever try and go less for, “I want this to sound like this,” but more, “I want this to make someone feel this way,” in a way that a composer would go for “here’s my visual accompaniment, here’s the feeling that we’re going for.” Do you find an equivalent to that approach?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. I did a score for an independent film. It was called <i>The Key</i>. I got introduced to this guy by a friend of mine when I was living in Los Angeles and I’m not even sure where you can find it online. I’m sure you could YouTube it, it’s just called <i>The Key</i>, and it’s even on IMDb if you were to search through my name because I am tagged to that movie. So that was a fun experience where the director was sort of new, so there wasn’t really a big vision of what he wanted, which was helpful because I think that would be difficult to have to try to make a sound or a moment based on what you’re watching. Because in that experience, when he gave me the footage, it’s a very odd thing to watch a movie with no sound and no music. You feel very on the spot to create something that works with that, and I think that’s the beauty about a lot of scores – when you watch a movie and you hear the sound, you’re like, wow, I never would’ve thought of that sound in that moment but it works so beautifully. And I’m sure there was a lot of trial and error with that director and that composer to make that happen, and maybe it might have just been a magic moment.\r\n\r\nFor myself, because I don’t have that experience of working with directors – not yet, hopefully I will in the future – I probably always sit down when I write music trying to evoke a mood. It never feels forced. I think I would probably tend to kind of float in that melancholy, contemplative state as you said at the beginning of our conversation, but a lot of it kind of just develops over time. It’s funny because I’m not a generally contemplative person – of course I think we all kind of long for those days – but it’s almost a catharsis when you do music, when you do sad music or music that sounds contemplative, you’d think you have to be in the kind of doldrums to do it, but really, it’s that expression of it that I think by the time you’re done with it, you don’t really have that burden anymore. I guess I kind of sit down trying to evoke a mood, and very rarely do I ever say I want it to be this way – that I want it to be sad or I want it to be happy – because with anything artistic, you can’t just sit down and do something. It’s usually got to be when inspiration strikes or when you get a certain kind of sound in your mind that you want to go record. And depending upon how you feel that particular day, what occurred, you may have a completely different direction of how the song develops.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>You mentioned before on <i>Priest Lake Circa ’88</i> you were working from a memory and a feeling for a particular time – I guess in a way that is almost like working to a soundtrack, you’ve got a distinct idea of a particular emotion you’re trying to evoke. Has that been something you’ve used as a jumping point for your other albums?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> No actually, it’s funny. So for a timeline: <i>The Sound of Lights When Dim</i> was what all artists say: I had my whole life to write that album. That was a collection of songs that had probably been bubbling for years. Then <i>The Slow and Steady Winter</i> and <i>Priest Lake Circa ’88</i> – those two albums together were actually the album that I sent to Cam as my second that he said no way on because it’s the full-on ’80s hair metal. And so those albums are what I reworked into what they are now. <i>Slow and Steady Winter</i> was actually re-edited over the winter, and I think because of that, that album has a very sombre vibe to it, and I would definitely say that because of being told no, so to speak, that kind of sent me into this sort of – not depressive state, but like, “OK, now what?” I’m in this nuclear winter in Washington when nothing happens, so that album is what took on a lot of that icy, reverbed, lengthy sound. <i>Priest Lake Circa ’88</i> – those tracks were still ones that I couldn’t quite make as cold sounding, so they still had that very warm, I’d say summery kind of rock vibe, and as I slowly came out of that winter, that vision really held tight and I just worked on it.\r\n\r\nBut albums nowadays – I’ve noticed the last three albums, I never really have a vision. It’s always one track is what gets created first, and the whole rest of the album kind of centres around that track. Which in a way is kind of a funny – or an ironic statement – because I’ve heard a lot of composers say, when they start working with a director, the director will have scenes for them to view and there’ll be temp music – songs that they’ve used from another film, or they’ll say “I’m looking for something like this” – and then they create this one track where the director says, “That’s it, that’s the sound,” and everything revolves around that. In most soundtracks there’s a common theme or a cue or a certain melody that is built upon or deconstructed, so that’s probably how a lot of my last three albums have worked. And the last three albums have really been a much more dive-into, score-like music, so I guess that’s an ironic twist of fate to how I approach it now. Nowadays there’s one song that tends to be the ground zero and everything else builds around it.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>What was that ground zero song on <i>The Cogent Sea?</i>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That was probably ‘Coming Back,’ the fourth track on the album. That was the big one for me. That one really kind of started it, because there’s a sort of just a staccato guitar chime in the beginning, and then the subtle melody notes over it, and that pulsing arpeggio bass in there. And that’s really what kind of sparked the rest of that vintage ’80s sound – it kind of has an almost sort-of cop drama ’80s sound to it, you know, with that menacing bass that typically underscores a very intense moment when they’re looking at a file. I think, again, a lot of those influences come to me from those ’80s films and sounds, but I didn’t want it to be super-sharp staccato bass like in ’80s movies; I rounded it off with a bit of a filter to give it more of that modern, textural quality.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span></b> I was surprised listening to <i>The Cogent Sea</i> that you didn’t pick something composed by Vangelis because I hear a lot of that aesthetic in it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The song ‘O Captain! My Captain!’ with that big, thick synth – that was really prevalent on a lot of the <i>Blade Runner</i> stuff that he did. That soundtrack was probably a pretty big soundtrack over the last two albums in a tone and in structure – because if you look at a lot of my older albums, there isn’t a lot of synth work. There’s a lot more guitars being manipulated, whereas the last two albums, I really started to dive much more into synths that you wouldn’t hear on a lot of those previous albums. For me, I always loved very warm, organic sounds, and I think there’s a sort of giving up that prejudice of synthetic sounds. Which is funny because I love synthpop music, but I never wanted to see that in my music for some reason, but then there was just this kind of turning point for me during the making of <i>Laterna Magica</i> where I started to use very quintessential chime sounds that were from an old Jupiter, and I love those tones now. I’ve started to use them a lot more, and that’s why I think you’ll see a lot more synth work on this new album than anything before.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Are you working on any new material now?\r\n\r\n<b>DS:</b> Right now Jarrod from <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a> – which is another band I’m in with Thomas – we’re working on the new album for City of Satellites, and Jarrod and I also have a side project called The October Solution and we’re working on that new album, so there probably won’t be a new album from Slow Dancing Society for at least a good year or two. It could be sooner – you know, it’s funny, a lot of times these albums, like I said a moment ago, when you get that one track that’s the ground zero, the rest just falls into place. There’s always that moment of panic when I’m working on tracks and nothing’s coming together, there’s no vision and I’m like, I don’t know when a new album’s going to be ready. But then all of a sudden one track happens and it just explodes. But I do have an EP that was kind of some outtakes of sorts from <i>The Cogent Sea</i> that just didn’t really seem to fit the overall vibe of that album, and by themselves they’re a much more cohesive unit. There are about six tracks which will probably be released late summer, early fall, maybe winter at the latest. The songs are all done, there’s just the matter of a release time with Hidden Shoal.\r\n\r\n&nbsp;\r\n<h4><b><i>Michael Clayton</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b> </span>That’s a great score. That was probably more score-like than the other ones. <i>Traffic</i> was very guitar-based with synthesizer tones and washy sounds. Same with <i>Stay</i>, that’s very much more piano-based with some guitar tracks in there. Whereas <i>Michael Clayton</i> – that’s quintessential percussion, those very filtered deep rumbling bass loops and percussive notes and beds. I saw that movie again too because of James Newton Howard, and I’ve seen a lot of his stuff and I like his big, grand-sounding scores. But that score is really one of those very minimal scores again – there aren’t a lot of big orchestral moments. It’s very otherworldly and it’s got that tension of sorts that I tend to like and that I’m leaning more towards. Because I’d say <a title=\"Laterna Magica\" href=\"https://slowdancingsociety.bandcamp.com/album/laterna-magica\" target=\"_blank\"><i>Laterna Magica </i></a>was probably a turning point in Slow Dancing Society’s overall sound where it got a little darker and not as ethereal, so that score was really a big influence for that, that idea of tension and a thriller type of vibe.\r\n<iframe src=\"//www.youtube.com/embed/MGZTrE070tk?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>There’s a great sense of urgency and it’s almost hard to listen to it without feeling a little uneasy. It’s hard to listen to it separately, whereas something like Danny Elfman, you can listen to it separately and enjoy it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And I love that score. And again, I think the thing too is that a lot of these scores where you mentioned earlier you don’t see it shining through in my music, what I tend to take from music is less about the particular artists and their sounds or style, but the way in which certain sounds sound. If you listen to that James Newton Howard score, the way in which the drums sound very almost watery and filtery, there’s a certain texture to them and I really like that sound, so I try to implement those kind of sounds into say, a song on <i>The Cogent Sea</i> like ‘Reach Out,’ which is really just an 808 machine, but I try to make those drums sound similar to the way they sounded on that score, so there’s no urgency or unease in that sound at all, but the sound in the way in which those sonics were, that’s kind of what I go for a lot of times.\r\n<h4><strong><i>Into </i><i>Forever </i></strong></h4>\r\nThis is not a film soundtrack as such but it feels like the soundtrack to something. <em>Into Forever</em> is the work of Manual (aka <a title=\"Jonas Munk\" href=\"https://www.facebook.com/pages/Jonas-Munk/189165807772795\" target=\"_blank\">Jonas Munk</a>) and Icebreaker International and is one of Munk\'s most underrated and hidden albums. If you read the liner notes it talks about – and this is totally a fake story, but it’s such a cool story the way they did this as a marketing ploy – is that there’s some sort of science academy in some far Eastern European country that funded the making of this album, and the album will be played on an infinite loop on this satellite that they’re going to launch into space with the hopes that the sound will travel for eternity into space, that any planetary being that reaches these sounds will hear them. And it was a very cool idea. If you look at the song titles there’s ‘The Countdown,’ so that’s the launching of the satellite, and then there’s ‘The Outer Rings’ and ‘The Inner Rings,’ so it’s like the journey of this satellite travelling through space and it’s a gorgeous, gorgeous album.\r\n\r\nPeople say it’s like space rock and it’s got a definite feel that you’re suspended in space listening to that album. Probably even more so in my opinion than ‘An Ending (Ascent)’ from Brian Eno which came from the <i>Apollo </i>soundtrack and the score to that movie about the Apollo space mission. Because that album with Eno was a little bit more – and it’s probably subject to the time and the sounds that were available – it has a little bit more of, I want to say cheese factor, but some songs just don’t seem to work as well for what’s going on, whereas <i>Into Forever</i>, you can put that on and just completely drift away into another world. It’s an amazing album.\r\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3013674606/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://manual.bandcamp.com/album/into-forever\">Into Forever by Icebreaker International &amp; Manual</a></iframe>\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>Do you try to work in that narrative sense when you’re sequencing tracks?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The thing that’s funny about that is you would think that the ground zero could either be the alpha or the omega – the beginning of the album or the end of the album, like the finale, or even the arc of the story. But really, it builds less in a narrative sense for me. Sometimes it will build in a narrative sense, I’ll really kind of try to create a story, but the way in which songs flow together is almost more happenstance where, let’s say when working on ‘Coming Back,’ there might be four or five individual tracks within that song that didn’t quite make the final edit, but there’s still something very textural about them that I liked, so those will develop into another song, and because of the way in which they sounded was within the same kind of cadence or even the key of a song like ‘Coming Back,’ that would make it very easy to be the song before or after that on the album.\r\n\r\nOne trick of the trade for me is I put all my songs once they’re done onto shuffle on my iPod. <i>The Cogent Sea </i>– the funny thing is, the actual tracklisting or order was from a total happenstance randomization on my iPod. It just worked. I listened to probably 30 incarnations of that. First I try to put them together myself, as in, “Here’s how I think they should sound.” Sometimes it feels forced, sometimes there’s a bit of a jump here or there or something doesn’t feel right, but this one lucky afternoon, that album order it played was perfect. So somewhere deep in the macro algorithm of an iPod is how that happened.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>What’s the overall feeling or memory that you’re trying to translate or communicate with <i>The Cogent Sea</i>?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> I think <i>The Cogent Sea</i> probably for me is the culmination of all styles of music that I loved as a kid and an adult. I have a pretty wide range of musical tastes. And I always dislike when people say “I have an eclectic taste in music” because I think that’s just kind of a little, trying to sound –\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>It’s lazy.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. There’s nothing wrong with saying that you like this style of music and only that. There’s nothing wrong with that at all, but I think people feel that they need to like a lot of different music. For me it’s less about liking all styles of music and more I love sounds and textures and how they work together.\r\n\r\nOne sound in particular is country music. I can’t stand country singers, but I absolutely love the sound of Fender Telecasters which are a very common guitar used in country music, and Rhodes pianos and steel guitars or pedal steels. I love the sounds of those textures so I like some country music in that sense. But I think with <i>The Cogent Sea</i>, I was trying to make an album – and not even trying, it was really just what came out, actually – of music that I just love and listen to.\r\n\r\nI think nowadays, if you look at the last three albums from the first albums, I always feel that an artist’s first couple of albums are them trying to find a place and fit in somewhere. And obviously at the time they’re very much into the music that they’re writing and playing and producing at that time, but it’s always the torturous thing that happens to artists as they get older is that they’re not going to make an album that they did five or ten years ago today.  They might, but it might be forced, and that’s where I feel the progression of what I do now musically has really started to show more so into what I listen to. Back on <i>The Sound of Lights When Dim</i>, all I listened to was IDM or ambient music, whereas nowadays with <i>The Cogent Sea</i> and listening to a song like ‘Reach Out’, you can tell that I was probably listening to a lot more Phil Collins or Erasure at the time, probably because I remember those bands. My mom played a lot of music when I was young, she was always listening to MTV or having it on the TV when I was five or six, so again I owe that to my parents a lot – that exposure to those music and those different styles and scenes.','Sound and Scene with Drew Sullivan of Slow Dancing Society','','inherit','closed','closed','','10836-revision-v1','','','2014-10-03 11:23:08','2014-10-03 03:23:08','',10836,'http://www.hiddenshoal.com/10836-revision-v1/',0,'revision','',0),(10847,1,'2014-10-03 11:27:25','2014-10-03 03:27:25','<img class=\"alignleft wp-image-9141 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Drew-Sullivan-2014-300x300.jpg\" alt=\"Slow Dancing Society\" width=\"204\" height=\"204\" /><a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a> is the moniker of ambient composer and sonic wunderkind Drew Sullivan, who’s responsible for some of the most ethereal and compelling pieces in Hidden Shoal’s catalogue. Through six albums over eight years, the evocative textures in Sullivan’s body of work play out like soundtracks to movies that don’t exist. From the nostalgic crescendos of <em><a title=\"Priest Lake Circa \'88\" href=\"https://slowdancingsociety.bandcamp.com/album/priest-lake-circa-88\" target=\"_blank\">Priest Lake Circa ‘88</a></em> to the Eno-meets-Vangelis minimalism of his latest record <a title=\"The Cogent Sea\" href=\"https://slowdancingsociety.bandcamp.com/album/the-cogent-sea\" target=\"_blank\"><em>The Cogent Sea</em></a>, Sullivan is a master of manipulating mood and emotion through sound. In this new feature on Hidden Shoal, our own Matthew Tomich spoke with Sullivan about his favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><b><i>Edward Scissorshands</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> In chronological order that’d be the best one, because that was probably my first introduction to really enjoying score music for films. I was always into movies at a young age so I always felt like I was aware of what was going on musically. Because when you’re six, seven or eight, you’ve got your favourite movies, and I kind of tended to watch a lot of adult movies. My dad would watch them with me and I attribute a lot of my love for things of the ’80s to my dad. And my mom – she played a lot of ’80s music for me. I’m 34, so in 1984 I was 4 years old, so a lot of the movies of that time that I really like I should not have ever seen. So dad watching them with me and always saying, “Oh, that doesn’t really happen that way” – it was funny, I had a really good sense of what was real at a young age.\r\n\r\nBut back to that movie – Danny Elfman I think had a kind of – and still does – a very unique style. He’s kind of ran his course; it’s always the same sound now, but it was this very phantasmic, fairytale sort of sound, and I think I attribute a lot of my ideas for melodies and usage of certain sounds like choirs and those kinds of vocal overtones and bells from him and from that soundtrack. I still love that soundtrack. It’s funny, I had it on tape of course at the time, and they always say you wear it out, but I truly did wear that tape out. But it made me think that if you ever listen to a brand new cassette tape, it doesn’t sound like a warbly tape like all these new plugins make your old vintage music sound like. And I think the reason why people want that tape sound is that if you have an album or favourite music you wore the hell out of, it started to warble, and the tape started to disintegrate, and that’s why we have that sound. It’s almost more about the memory of a sound than the actual quality because tape was a quality device back then. But I loved that soundtrack, I still listen to it today.\r\n\r\n<iframe src=\"//www.youtube.com/embed/M94yyfWy-KI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>When you’ve listened to a soundtrack so much, are you almost listening to it first than watching it – rather than waiting for a scene, you’re waiting for a refrain or a melody?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. It’s funny – I’m kind of like that with a lot of movies, even modern ones where I know the score really well. I tend to go watch a movie because of the composer, and I’ve been turned on to a lot of movies because of composers that I probably wouldn’t have normally chosen to see. So I tend to be anticipating that next cue in the movie, and it’s a weird way of watching a movie. I don’t think a lot of people probably view movies that way. A lot of composers will say, “If you don’t recognise that my music is playing in the background then I’ve done a good job because I’ve just made that a seamless moment where the music has underscored the scene.”\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>One thing I noticed with that and with a lot of Danny Elfman soundtracks I’ve heard is the sense of a dark, carnivalesque sound to it – it’s playful, but there’s that eerie undertone.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And it really fits Burton’s vision really well. You see a lot of composers – and we’ll talk a little later about Cliff Martinez, he and Steven Soderbergh have worked so many times together – and I think there are certain directors that just really mesh and the sound of someone’s music just works with their vision. I just watched <i>Beetlejuice</i> last night, it was on TV, and again it’s that quintessential Danny Elfman sound – it’s a very playful but dark sound. He did a score for a movie called <i>Nightbreed</i> which really flew under the radar, and that’s a really good score that no one really talks about. It’s very tribal. The movie is about this tribe of monsters that live underneath a graveyard, which sounds really stupid when you say it, but it’s a Clive Barker story and it’s really good. But his score in that is very good, very nice. Not as playful – it’s much more the darker style.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Listening to <i>Edward Scissorshands</i> and then listening to your stuff afterwards, I was expecting to hear some of those influences, but it wasn’t really coming through, because your music is a lot more contemplative, serious, and for a lack of a better expression, highbrow. Is <i>Nightbreed</i> closer to the tone that you go for or closer to what you take from Elfman’s music?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> You know, I was laughing to myself the other day about this, where I have all these influences that I state all the time, and a lot of times they won’t shine through in what I do. One of my favourite albums that I was really passionate about was the <i>Priest Lake Circa ‘88</i> album and I tell everyone that that was my attempt at making a hair metal album. Probably three quarters of the album was original material that I had sent to Cam Merton [at Hidden Shoal] and he was like, “No way is this going to work.” So when I look back on it, it was a pretty ambitious move to make such an album. So what I did was the typical re-editing and mixing and washing it in reverb and delay and it turned out to be way better than what I initially went out for. It was a perfect thing to happen because when I listen to that album now, I can totally hear hair metal music in it for me, because there’s all sorts of soaring guitars in there that were delayed and reverbed as I’d said, but it takes on the way we remember music as opposed to the way the music actually sounded.\r\n\r\nIt was kind of like <i>Priest Lake</i> was supposed to be a memory of a time in my life. And it’s going to be like all memories – it’s going to be fuzzy around the edges, a lot of it’s going to be probably wrong from the way it actually happened, and everyone’s interpretation’s going to be a little different. Because when I still listen to hair metal music today, it brings me back to those moments of my childhood, but it doesn’t quite sound as grand and as luxurious or epic to me as it did then. And that’s understandable, but I think that’s what I try to do with most of my influences – take the way they made me feel – and that’s probably where the contemplative tone comes through. You’re longing for those days of when life was just a little bit easier and there were no diapers.\r\n\r\n&nbsp;\r\n<h4><b><i>Stay</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That’s a good example of how I say that I found out about the movie through the people that did the score. The guys that did that – Ashe and Spencer – they’re kind of a unique scoring company because there are like 8 to 15 people for that company. Ashe and Spencer are the two main original guys, but they have these revolving musicians that come through and do stuff for them. It’s a very co-op sort of vibe. They did a movie called <i>Monsters Ball</i> with Heath Ledger and Billy Bob Thornton, and that was a great movie and I really liked that score, and because I saw on IMDb that they were scoring <i>Stay</i>, I went to go watch it one night and that movie turned out to be just an incredibly visually stunning movie, and their music was so perfect for it. The way in which each scene melded into the next scene was like – there’d be a scene where they’re driving by the Brooklyn Bridge and one of the main – I guess I’d say tower portions of that bridge – melded into the next scene, which was a chess board with a Brooklyn-themed chess piece. And it wasn’t cheesy; it was really well done CGI. So the movie is a very dream state movie that I won’t spoil it because the ending is necessary to understand the whole vibe of the movie, but those guys on that movie, their score was so good.\r\n\r\nThat score was in 2004 and that was right around when I was working on <i>The Sound of Lights When Dim</i>, and so I didn’t really have the wherewithal or I guess the experience to really know how to manipulate sound as well as I’ve gotten to the point now over the experience of time, but they had a behind-the-scenes featurette on that score which is on the DVD about how they did the music, and it was really impressive and amazing how they made a lot of their sounds. Very organic, lack of plug-ins. One particular thing that stuck with me is they took a piano and recorded every single note through an old tape machine, and one of the tape heads was rotten and broken, and they would actually touch the tape throughout each piece. And so then they had every key of the piano recorded, and then they would map those audio files to a MIDI keyboard. Then they played it through a plug-in of sorts or a sampler, but each key would have a very unique characteristic when you’d play a chord, and I guess the piano was kind of – it wasn’t even like a warble, it was just this very otherworldly sounding piano, and it’s just amazing.\r\n\r\n<iframe src=\"//www.youtube.com/embed/KIk5rfA5uWE?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>That one more so than the Elfman soundtrack, I could hear a lot more of that in your music. And I like how it had that scrape of metal synthetic sound to it. You mentioned the organic approach they took – is that something you try to do a lot of?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. I don’t have as much of an ability to do field recordings or record pianos that way, so I probably tend to do it a lot longer – or at least my workaround, for lack of a better word – is a lot longer than it probably needs to be, because I don’t have a piano. I have a VST of a piano so I’ll take notes and kind of record those notes and mangle it a little with plugins that I have, and then put it back into the track. So I may have 15 individual tracks to make one piano chord just to try to make that sound. So it’s a lot harder workaround, but I don’t have the tape machine or the microphones to do that.\r\n\r\n&nbsp;\r\n<h4><b><i>Traffic</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That came out a couple of years before <i>Stay</i> but I remember seeing that movie – because it was a pretty big, popular movie at the time – and I remember the very end of the movie, it wasn’t even a Cliff Martinez song, it was ‘An Ending (Ascent)’ by Brian Eno. And that was probably the first time I’d ever heard that song, actually, which is funny, because everyone always assumes as an ambient artist that Eno is a big influence, and I didn’t discover him until very, very late into my musical ambitions. And he still is, but that song is just one of those perfect songs where the melody and the chord progression is amazing. It’s very simple. I mean really, there’s one instrument – I’m sure there are probably a couple of different tracks and layers, but it’s really just one synthesizer. There’s not a lot of layers and I tend to be excessive in layering of music – you know, the whole less is more – but that song is perfect. So that really got me to pay attention to the score and go back and hear it. That was what began my love affair with Cliff Martinez, is that score.\r\n\r\n<iframe src=\"//www.youtube.com/embed/qNgvVVjgK68?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS:</b></span> Interesting you mentioned Eno and that minimalistic take, because he composed the Windows 95 start-up sound. He often worked on that microscopic level where you’re dealing with fractions of a second. You said that you work on the opposite to the less is more scale, but do you ever get that meticulous?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Well yeah, because what I’ve found with a lot of my favourite musicians that aren’t influences – just music I like to listen to – is that the more and more, you can always pick up something from a rock band or even a house track in the way it’s produced and the way the sounds work together – that timbre, so to speak, of the instruments. And I find that a lot of times, these sounds that we think we’re hearing as another layer is not so much another layer of music but actually the two tones of each individual instrument playing together, and even that sort of silence in between those instruments serves as an instrument in and of itself; it kind of fills in those gaps. So I try to really approach those minimalistic things and really get back to it. Once it gets too busy, it’s just that – there’s too much going on; you can’t really focus on just the decay of a certain sound. And then at that point when you’ve got too much going on, it’s going to get muddy, everything’s going to start fighting for its own place in the mix, and you’ve just got a discombobulated sound. A good example on that <i>Stay </i>soundtrack is there are a lot of portions in that music where the piano note will just ring and then that note will decay and reverse and pull it back and pan it left. It’s taking one single sound and really abusing, so to speak, the nature of that one sound.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>In terms of how soundtracks and composers work – do you ever try and go less for, “I want this to sound like this,” but more, “I want this to make someone feel this way,” in a way that a composer would go for “here’s my visual accompaniment, here’s the feeling that we’re going for.” Do you find an equivalent to that approach?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. I did a score for an independent film. It was called <i>The Key</i>. I got introduced to this guy by a friend of mine when I was living in Los Angeles and I’m not even sure where you can find it online. I’m sure you could YouTube it, it’s just called <i>The Key</i>, and it’s even on IMDb if you were to search through my name because I am tagged to that movie. So that was a fun experience where the director was sort of new, so there wasn’t really a big vision of what he wanted, which was helpful because I think that would be difficult to have to try to make a sound or a moment based on what you’re watching. Because in that experience, when he gave me the footage, it’s a very odd thing to watch a movie with no sound and no music. You feel very on the spot to create something that works with that, and I think that’s the beauty about a lot of scores – when you watch a movie and you hear the sound, you’re like, wow, I never would’ve thought of that sound in that moment but it works so beautifully. And I’m sure there was a lot of trial and error with that director and that composer to make that happen, and maybe it might have just been a magic moment.\r\n\r\nFor myself, because I don’t have that experience of working with directors – not yet, hopefully I will in the future – I probably always sit down when I write music trying to evoke a mood. It never feels forced. I think I would probably tend to kind of float in that melancholy, contemplative state as you said at the beginning of our conversation, but a lot of it kind of just develops over time. It’s funny because I’m not a generally contemplative person – of course I think we all kind of long for those days – but it’s almost a catharsis when you do music, when you do sad music or music that sounds contemplative, you’d think you have to be in the kind of doldrums to do it, but really, it’s that expression of it that I think by the time you’re done with it, you don’t really have that burden anymore. I guess I kind of sit down trying to evoke a mood, and very rarely do I ever say I want it to be this way – that I want it to be sad or I want it to be happy – because with anything artistic, you can’t just sit down and do something. It’s usually got to be when inspiration strikes or when you get a certain kind of sound in your mind that you want to go record. And depending upon how you feel that particular day, what occurred, you may have a completely different direction of how the song develops.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>You mentioned before on <i>Priest Lake Circa ’88</i> you were working from a memory and a feeling for a particular time – I guess in a way that is almost like working to a soundtrack, you’ve got a distinct idea of a particular emotion you’re trying to evoke. Has that been something you’ve used as a jumping point for your other albums?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> No actually, it’s funny. So for a timeline: <i>The Sound of Lights When Dim</i> was what all artists say: I had my whole life to write that album. That was a collection of songs that had probably been bubbling for years. Then <i>The Slow and Steady Winter</i> and <i>Priest Lake Circa ’88</i> – those two albums together were actually the album that I sent to Cam as my second that he said no way on because it’s the full-on ’80s hair metal. And so those albums are what I reworked into what they are now. <i>Slow and Steady Winter</i> was actually re-edited over the winter, and I think because of that, that album has a very sombre vibe to it, and I would definitely say that because of being told no, so to speak, that kind of sent me into this sort of – not depressive state, but like, “OK, now what?” I’m in this nuclear winter in Washington when nothing happens, so that album is what took on a lot of that icy, reverbed, lengthy sound. <i>Priest Lake Circa ’88</i> – those tracks were still ones that I couldn’t quite make as cold sounding, so they still had that very warm, I’d say summery kind of rock vibe, and as I slowly came out of that winter, that vision really held tight and I just worked on it.\r\n\r\nBut albums nowadays – I’ve noticed the last three albums, I never really have a vision. It’s always one track is what gets created first, and the whole rest of the album kind of centres around that track. Which in a way is kind of a funny – or an ironic statement – because I’ve heard a lot of composers say, when they start working with a director, the director will have scenes for them to view and there’ll be temp music – songs that they’ve used from another film, or they’ll say “I’m looking for something like this” – and then they create this one track where the director says, “That’s it, that’s the sound,” and everything revolves around that. In most soundtracks there’s a common theme or a cue or a certain melody that is built upon or deconstructed, so that’s probably how a lot of my last three albums have worked. And the last three albums have really been a much more dive-into, score-like music, so I guess that’s an ironic twist of fate to how I approach it now. Nowadays there’s one song that tends to be the ground zero and everything else builds around it.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>What was that ground zero song on <i>The Cogent Sea?</i>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That was probably ‘Coming Back,’ the fourth track on the album. That was the big one for me. That one really kind of started it, because there’s a sort of just a staccato guitar chime in the beginning, and then the subtle melody notes over it, and that pulsing arpeggio bass in there. And that’s really what kind of sparked the rest of that vintage ’80s sound – it kind of has an almost sort-of cop drama ’80s sound to it, you know, with that menacing bass that typically underscores a very intense moment when they’re looking at a file. I think, again, a lot of those influences come to me from those ’80s films and sounds, but I didn’t want it to be super-sharp staccato bass like in ’80s movies; I rounded it off with a bit of a filter to give it more of that modern, textural quality.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span></b> I was surprised listening to <i>The Cogent Sea</i> that you didn’t pick something composed by Vangelis because I hear a lot of that aesthetic in it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The song ‘O Captain! My Captain!’ with that big, thick synth – that was really prevalent on a lot of the <i>Blade Runner</i> stuff that he did. That soundtrack was probably a pretty big soundtrack over the last two albums in a tone and in structure – because if you look at a lot of my older albums, there isn’t a lot of synth work. There’s a lot more guitars being manipulated, whereas the last two albums, I really started to dive much more into synths that you wouldn’t hear on a lot of those previous albums. For me, I always loved very warm, organic sounds, and I think there’s a sort of giving up that prejudice of synthetic sounds. Which is funny because I love synthpop music, but I never wanted to see that in my music for some reason, but then there was just this kind of turning point for me during the making of <i>Laterna Magica</i> where I started to use very quintessential chime sounds that were from an old Jupiter, and I love those tones now. I’ve started to use them a lot more, and that’s why I think you’ll see a lot more synth work on this new album than anything before.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Are you working on any new material now?\r\n\r\n<b>DS:</b> Right now Jarrod from <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a> – which is another band I’m in with Thomas – we’re working on the new album for City of Satellites, and Jarrod and I also have a side project called The October Solution and we’re working on that new album, so there probably won’t be a new album from Slow Dancing Society for at least a good year or two. It could be sooner – you know, it’s funny, a lot of times these albums, like I said a moment ago, when you get that one track that’s the ground zero, the rest just falls into place. There’s always that moment of panic when I’m working on tracks and nothing’s coming together, there’s no vision and I’m like, I don’t know when a new album’s going to be ready. But then all of a sudden one track happens and it just explodes. But I do have an EP that was kind of some outtakes of sorts from <i>The Cogent Sea</i> that just didn’t really seem to fit the overall vibe of that album, and by themselves they’re a much more cohesive unit. There are about six tracks which will probably be released late summer, early fall, maybe winter at the latest. The songs are all done, there’s just the matter of a release time with Hidden Shoal.\r\n\r\n&nbsp;\r\n<h4><b><i>Michael Clayton</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b> </span>That’s a great score. That was probably more score-like than the other ones. <i>Traffic</i> was very guitar-based with synthesizer tones and washy sounds. Same with <i>Stay</i>, that’s very much more piano-based with some guitar tracks in there. Whereas <i>Michael Clayton</i> – that’s quintessential percussion, those very filtered deep rumbling bass loops and percussive notes and beds. I saw that movie again too because of James Newton Howard, and I’ve seen a lot of his stuff and I like his big, grand-sounding scores. But that score is really one of those very minimal scores again – there aren’t a lot of big orchestral moments. It’s very otherworldly and it’s got that tension of sorts that I tend to like and that I’m leaning more towards. Because I’d say <a title=\"Laterna Magica\" href=\"https://slowdancingsociety.bandcamp.com/album/laterna-magica\" target=\"_blank\"><i>Laterna Magica </i></a>was probably a turning point in Slow Dancing Society’s overall sound where it got a little darker and not as ethereal, so that score was really a big influence for that, that idea of tension and a thriller type of vibe.\r\n<iframe src=\"//www.youtube.com/embed/MGZTrE070tk?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>There’s a great sense of urgency and it’s almost hard to listen to it without feeling a little uneasy. It’s hard to listen to it separately, whereas something like Danny Elfman, you can listen to it separately and enjoy it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And I love that score. And again, I think the thing too is that a lot of these scores where you mentioned earlier you don’t see it shining through in my music, what I tend to take from music is less about the particular artists and their sounds or style, but the way in which certain sounds sound. If you listen to that James Newton Howard score, the way in which the drums sound very almost watery and filtery, there’s a certain texture to them and I really like that sound, so I try to implement those kind of sounds into say, a song on <i>The Cogent Sea</i> like ‘Reach Out,’ which is really just an 808 machine, but I try to make those drums sound similar to the way they sounded on that score, so there’s no urgency or unease in that sound at all, but the sound in the way in which those sonics were, that’s kind of what I go for a lot of times.\r\n\r\n&nbsp;\r\n<h4><strong><i>Into </i><i>Forever </i></strong></h4>\r\nThis is not a film soundtrack as such but it feels like the soundtrack to something. <em>Into Forever</em> is the work of Manual (aka <a title=\"Jonas Munk\" href=\"https://www.facebook.com/pages/Jonas-Munk/189165807772795\" target=\"_blank\">Jonas Munk</a>) and Icebreaker International and is one of Munk\'s most underrated and hidden albums. If you read the liner notes it talks about – and this is totally a fake story, but it’s such a cool story the way they did this as a marketing ploy – is that there’s some sort of science academy in some far Eastern European country that funded the making of this album, and the album will be played on an infinite loop on this satellite that they’re going to launch into space with the hopes that the sound will travel for eternity into space, that any planetary being that reaches these sounds will hear them. And it was a very cool idea. If you look at the song titles there’s ‘The Countdown,’ so that’s the launching of the satellite, and then there’s ‘The Outer Rings’ and ‘The Inner Rings,’ so it’s like the journey of this satellite travelling through space and it’s a gorgeous, gorgeous album.\r\n\r\nPeople say it’s like space rock and it’s got a definite feel that you’re suspended in space listening to that album. Probably even more so in my opinion than ‘An Ending (Ascent)’ from Brian Eno which came from the <i>Apollo </i>soundtrack and the score to that movie about the Apollo space mission. Because that album with Eno was a little bit more – and it’s probably subject to the time and the sounds that were available – it has a little bit more of, I want to say cheese factor, but some songs just don’t seem to work as well for what’s going on, whereas <i>Into Forever</i>, you can put that on and just completely drift away into another world. It’s an amazing album.\r\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3013674606/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://manual.bandcamp.com/album/into-forever\">Into Forever by Icebreaker International &amp; Manual</a></iframe>\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>Do you try to work in that narrative sense when you’re sequencing tracks?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The thing that’s funny about that is you would think that the ground zero could either be the alpha or the omega – the beginning of the album or the end of the album, like the finale, or even the arc of the story. But really, it builds less in a narrative sense for me. Sometimes it will build in a narrative sense, I’ll really kind of try to create a story, but the way in which songs flow together is almost more happenstance where, let’s say when working on ‘Coming Back,’ there might be four or five individual tracks within that song that didn’t quite make the final edit, but there’s still something very textural about them that I liked, so those will develop into another song, and because of the way in which they sounded was within the same kind of cadence or even the key of a song like ‘Coming Back,’ that would make it very easy to be the song before or after that on the album.\r\n\r\nOne trick of the trade for me is I put all my songs once they’re done onto shuffle on my iPod. <i>The Cogent Sea </i>– the funny thing is, the actual tracklisting or order was from a total happenstance randomization on my iPod. It just worked. I listened to probably 30 incarnations of that. First I try to put them together myself, as in, “Here’s how I think they should sound.” Sometimes it feels forced, sometimes there’s a bit of a jump here or there or something doesn’t feel right, but this one lucky afternoon, that album order it played was perfect. So somewhere deep in the macro algorithm of an iPod is how that happened.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>What’s the overall feeling or memory that you’re trying to translate or communicate with <i>The Cogent Sea</i>?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> I think <i>The Cogent Sea</i> probably for me is the culmination of all styles of music that I loved as a kid and an adult. I have a pretty wide range of musical tastes. And I always dislike when people say “I have an eclectic taste in music” because I think that’s just kind of a little, trying to sound –\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>It’s lazy.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. There’s nothing wrong with saying that you like this style of music and only that. There’s nothing wrong with that at all, but I think people feel that they need to like a lot of different music. For me it’s less about liking all styles of music and more I love sounds and textures and how they work together.\r\n\r\nOne sound in particular is country music. I can’t stand country singers, but I absolutely love the sound of Fender Telecasters which are a very common guitar used in country music, and Rhodes pianos and steel guitars or pedal steels. I love the sounds of those textures so I like some country music in that sense. But I think with <i>The Cogent Sea</i>, I was trying to make an album – and not even trying, it was really just what came out, actually – of music that I just love and listen to.\r\n\r\nI think nowadays, if you look at the last three albums from the first albums, I always feel that an artist’s first couple of albums are them trying to find a place and fit in somewhere. And obviously at the time they’re very much into the music that they’re writing and playing and producing at that time, but it’s always the torturous thing that happens to artists as they get older is that they’re not going to make an album that they did five or ten years ago today.  They might, but it might be forced, and that’s where I feel the progression of what I do now musically has really started to show more so into what I listen to. Back on <i>The Sound of Lights When Dim</i>, all I listened to was IDM or ambient music, whereas nowadays with <i>The Cogent Sea</i> and listening to a song like ‘Reach Out’, you can tell that I was probably listening to a lot more Phil Collins or Erasure at the time, probably because I remember those bands. My mom played a lot of music when I was young, she was always listening to MTV or having it on the TV when I was five or six, so again I owe that to my parents a lot – that exposure to those music and those different styles and scenes.','Sound and Scene with Drew Sullivan of Slow Dancing Society','','inherit','closed','closed','','10836-revision-v1','','','2014-10-03 11:27:25','2014-10-03 03:27:25','',10836,'http://www.hiddenshoal.com/10836-revision-v1/',0,'revision','',0),(10848,1,'2014-10-03 11:28:54','2014-10-03 03:28:54','<img class=\"alignleft wp-image-9141 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Drew-Sullivan-2014-300x300.jpg\" alt=\"Slow Dancing Society\" width=\"204\" height=\"204\" /><a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a> is the moniker of ambient composer and sonic wunderkind Drew Sullivan, who’s responsible for some of the most ethereal and compelling pieces in Hidden Shoal’s catalogue. Through six albums over eight years, the evocative textures in Sullivan’s body of work play out like soundtracks to movies that don’t exist. From the nostalgic crescendos of <em><a title=\"Priest Lake Circa \'88\" href=\"https://slowdancingsociety.bandcamp.com/album/priest-lake-circa-88\" target=\"_blank\">Priest Lake Circa ‘88</a></em> to the Eno-meets-Vangelis minimalism of his latest record <a title=\"The Cogent Sea\" href=\"https://slowdancingsociety.bandcamp.com/album/the-cogent-sea\" target=\"_blank\"><em>The Cogent Sea</em></a>, Sullivan is a master of manipulating mood and emotion through sound. In this new feature on Hidden Shoal, our own Matthew Tomich spoke with Sullivan about his favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><b><i>Edward Scissorshands</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> In chronological order that’d be the best one, because that was probably my first introduction to really enjoying score music for films. I was always into movies at a young age so I always felt like I was aware of what was going on musically. Because when you’re six, seven or eight, you’ve got your favourite movies, and I kind of tended to watch a lot of adult movies. My dad would watch them with me and I attribute a lot of my love for things of the ’80s to my dad. And my mom – she played a lot of ’80s music for me. I’m 34, so in 1984 I was 4 years old, so a lot of the movies of that time that I really like I should not have ever seen. So dad watching them with me and always saying, “Oh, that doesn’t really happen that way” – it was funny, I had a really good sense of what was real at a young age.\r\n\r\nBut back to that movie – Danny Elfman I think had a kind of – and still does – a very unique style. He’s kind of ran his course; it’s always the same sound now, but it was this very phantasmic, fairytale sort of sound, and I think I attribute a lot of my ideas for melodies and usage of certain sounds like choirs and those kinds of vocal overtones and bells from him and from that soundtrack. I still love that soundtrack. It’s funny, I had it on tape of course at the time, and they always say you wear it out, but I truly did wear that tape out. But it made me think that if you ever listen to a brand new cassette tape, it doesn’t sound like a warbly tape like all these new plugins make your old vintage music sound like. And I think the reason why people want that tape sound is that if you have an album or favourite music you wore the hell out of, it started to warble, and the tape started to disintegrate, and that’s why we have that sound. It’s almost more about the memory of a sound than the actual quality because tape was a quality device back then. But I loved that soundtrack, I still listen to it today.\r\n\r\n<iframe src=\"//www.youtube.com/embed/M94yyfWy-KI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>When you’ve listened to a soundtrack so much, are you almost listening to it first than watching it – rather than waiting for a scene, you’re waiting for a refrain or a melody?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. It’s funny – I’m kind of like that with a lot of movies, even modern ones where I know the score really well. I tend to go watch a movie because of the composer, and I’ve been turned on to a lot of movies because of composers that I probably wouldn’t have normally chosen to see. So I tend to be anticipating that next cue in the movie, and it’s a weird way of watching a movie. I don’t think a lot of people probably view movies that way. A lot of composers will say, “If you don’t recognise that my music is playing in the background then I’ve done a good job because I’ve just made that a seamless moment where the music has underscored the scene.”\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>One thing I noticed with that and with a lot of Danny Elfman soundtracks I’ve heard is the sense of a dark, carnivalesque sound to it – it’s playful, but there’s that eerie undertone.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And it really fits Burton’s vision really well. You see a lot of composers – and we’ll talk a little later about Cliff Martinez, he and Steven Soderbergh have worked so many times together – and I think there are certain directors that just really mesh and the sound of someone’s music just works with their vision. I just watched <i>Beetlejuice</i> last night, it was on TV, and again it’s that quintessential Danny Elfman sound – it’s a very playful but dark sound. He did a score for a movie called <i>Nightbreed</i> which really flew under the radar, and that’s a really good score that no one really talks about. It’s very tribal. The movie is about this tribe of monsters that live underneath a graveyard, which sounds really stupid when you say it, but it’s a Clive Barker story and it’s really good. But his score in that is very good, very nice. Not as playful – it’s much more the darker style.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Listening to <i>Edward Scissorshands</i> and then listening to your stuff afterwards, I was expecting to hear some of those influences, but it wasn’t really coming through, because your music is a lot more contemplative, serious, and for a lack of a better expression, highbrow. Is <i>Nightbreed</i> closer to the tone that you go for or closer to what you take from Elfman’s music?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> You know, I was laughing to myself the other day about this, where I have all these influences that I state all the time, and a lot of times they won’t shine through in what I do. One of my favourite albums that I was really passionate about was the <i>Priest Lake Circa ‘88</i> album and I tell everyone that that was my attempt at making a hair metal album. Probably three quarters of the album was original material that I had sent to Cam Merton [at Hidden Shoal] and he was like, “No way is this going to work.” So when I look back on it, it was a pretty ambitious move to make such an album. So what I did was the typical re-editing and mixing and washing it in reverb and delay and it turned out to be way better than what I initially went out for. It was a perfect thing to happen because when I listen to that album now, I can totally hear hair metal music in it for me, because there’s all sorts of soaring guitars in there that were delayed and reverbed as I’d said, but it takes on the way we remember music as opposed to the way the music actually sounded.\r\n\r\nIt was kind of like <i>Priest Lake</i> was supposed to be a memory of a time in my life. And it’s going to be like all memories – it’s going to be fuzzy around the edges, a lot of it’s going to be probably wrong from the way it actually happened, and everyone’s interpretation’s going to be a little different. Because when I still listen to hair metal music today, it brings me back to those moments of my childhood, but it doesn’t quite sound as grand and as luxurious or epic to me as it did then. And that’s understandable, but I think that’s what I try to do with most of my influences – take the way they made me feel – and that’s probably where the contemplative tone comes through. You’re longing for those days of when life was just a little bit easier and there were no diapers.\r\n\r\n&nbsp;\r\n<h4><b><i>Stay</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That’s a good example of how I say that I found out about the movie through the people that did the score. The guys that did that – Ashe and Spencer – they’re kind of a unique scoring company because there are like 8 to 15 people for that company. Ashe and Spencer are the two main original guys, but they have these revolving musicians that come through and do stuff for them. It’s a very co-op sort of vibe. They did a movie called <i>Monsters Ball</i> with Heath Ledger and Billy Bob Thornton, and that was a great movie and I really liked that score, and because I saw on IMDb that they were scoring <i>Stay</i>, I went to go watch it one night and that movie turned out to be just an incredibly visually stunning movie, and their music was so perfect for it. The way in which each scene melded into the next scene was like – there’d be a scene where they’re driving by the Brooklyn Bridge and one of the main – I guess I’d say tower portions of that bridge – melded into the next scene, which was a chess board with a Brooklyn-themed chess piece. And it wasn’t cheesy; it was really well done CGI. So the movie is a very dream state movie that I won’t spoil it because the ending is necessary to understand the whole vibe of the movie, but those guys on that movie, their score was so good.\r\n\r\nThat score was in 2004 and that was right around when I was working on <i>The Sound of Lights When Dim</i>, and so I didn’t really have the wherewithal or I guess the experience to really know how to manipulate sound as well as I’ve gotten to the point now over the experience of time, but they had a behind-the-scenes featurette on that score which is on the DVD about how they did the music, and it was really impressive and amazing how they made a lot of their sounds. Very organic, lack of plug-ins. One particular thing that stuck with me is they took a piano and recorded every single note through an old tape machine, and one of the tape heads was rotten and broken, and they would actually touch the tape throughout each piece. And so then they had every key of the piano recorded, and then they would map those audio files to a MIDI keyboard. Then they played it through a plug-in of sorts or a sampler, but each key would have a very unique characteristic when you’d play a chord, and I guess the piano was kind of – it wasn’t even like a warble, it was just this very otherworldly sounding piano, and it’s just amazing.\r\n\r\n<iframe src=\"//www.youtube.com/embed/KIk5rfA5uWE?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>That one more so than the Elfman soundtrack, I could hear a lot more of that in your music. And I like how it had that scrape of metal synthetic sound to it. You mentioned the organic approach they took – is that something you try to do a lot of?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. I don’t have as much of an ability to do field recordings or record pianos that way, so I probably tend to do it a lot longer – or at least my workaround, for lack of a better word – is a lot longer than it probably needs to be, because I don’t have a piano. I have a VST of a piano so I’ll take notes and kind of record those notes and mangle it a little with plugins that I have, and then put it back into the track. So I may have 15 individual tracks to make one piano chord just to try to make that sound. So it’s a lot harder workaround, but I don’t have the tape machine or the microphones to do that.\r\n\r\n&nbsp;\r\n<h4><b><i>Traffic</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That came out a couple of years before <i>Stay</i> but I remember seeing that movie – because it was a pretty big, popular movie at the time – and I remember the very end of the movie, it wasn’t even a Cliff Martinez song, it was ‘An Ending (Ascent)’ by Brian Eno. And that was probably the first time I’d ever heard that song, actually, which is funny, because everyone always assumes as an ambient artist that Eno is a big influence, and I didn’t discover him until very, very late into my musical ambitions. And he still is, but that song is just one of those perfect songs where the melody and the chord progression is amazing. It’s very simple. I mean really, there’s one instrument – I’m sure there are probably a couple of different tracks and layers, but it’s really just one synthesizer. There’s not a lot of layers and I tend to be excessive in layering of music – you know, the whole less is more – but that song is perfect. So that really got me to pay attention to the score and go back and hear it. That was what began my love affair with Cliff Martinez, is that score.\r\n\r\n<iframe src=\"//www.youtube.com/embed/qNgvVVjgK68?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS:</b></span> Interesting you mentioned Eno and that minimalistic take, because he composed the Windows 95 start-up sound. He often worked on that microscopic level where you’re dealing with fractions of a second. You said that you work on the opposite to the less is more scale, but do you ever get that meticulous?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Well yeah, because what I’ve found with a lot of my favourite musicians that aren’t influences – just music I like to listen to – is that the more and more, you can always pick up something from a rock band or even a house track in the way it’s produced and the way the sounds work together – that timbre, so to speak, of the instruments. And I find that a lot of times, these sounds that we think we’re hearing as another layer is not so much another layer of music but actually the two tones of each individual instrument playing together, and even that sort of silence in between those instruments serves as an instrument in and of itself; it kind of fills in those gaps. So I try to really approach those minimalistic things and really get back to it. Once it gets too busy, it’s just that – there’s too much going on; you can’t really focus on just the decay of a certain sound. And then at that point when you’ve got too much going on, it’s going to get muddy, everything’s going to start fighting for its own place in the mix, and you’ve just got a discombobulated sound. A good example on that <i>Stay </i>soundtrack is there are a lot of portions in that music where the piano note will just ring and then that note will decay and reverse and pull it back and pan it left. It’s taking one single sound and really abusing, so to speak, the nature of that one sound.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>In terms of how soundtracks and composers work – do you ever try and go less for, “I want this to sound like this,” but more, “I want this to make someone feel this way,” in a way that a composer would go for “here’s my visual accompaniment, here’s the feeling that we’re going for.” Do you find an equivalent to that approach?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. I did a score for an independent film. It was called <i>The Key</i>. I got introduced to this guy by a friend of mine when I was living in Los Angeles and I’m not even sure where you can find it online. I’m sure you could YouTube it, it’s just called <i>The Key</i>, and it’s even on IMDb if you were to search through my name because I am tagged to that movie. So that was a fun experience where the director was sort of new, so there wasn’t really a big vision of what he wanted, which was helpful because I think that would be difficult to have to try to make a sound or a moment based on what you’re watching. Because in that experience, when he gave me the footage, it’s a very odd thing to watch a movie with no sound and no music. You feel very on the spot to create something that works with that, and I think that’s the beauty about a lot of scores – when you watch a movie and you hear the sound, you’re like, wow, I never would’ve thought of that sound in that moment but it works so beautifully. And I’m sure there was a lot of trial and error with that director and that composer to make that happen, and maybe it might have just been a magic moment.\r\n\r\nFor myself, because I don’t have that experience of working with directors – not yet, hopefully I will in the future – I probably always sit down when I write music trying to evoke a mood. It never feels forced. I think I would probably tend to kind of float in that melancholy, contemplative state as you said at the beginning of our conversation, but a lot of it kind of just develops over time. It’s funny because I’m not a generally contemplative person – of course I think we all kind of long for those days – but it’s almost a catharsis when you do music, when you do sad music or music that sounds contemplative, you’d think you have to be in the kind of doldrums to do it, but really, it’s that expression of it that I think by the time you’re done with it, you don’t really have that burden anymore. I guess I kind of sit down trying to evoke a mood, and very rarely do I ever say I want it to be this way – that I want it to be sad or I want it to be happy – because with anything artistic, you can’t just sit down and do something. It’s usually got to be when inspiration strikes or when you get a certain kind of sound in your mind that you want to go record. And depending upon how you feel that particular day, what occurred, you may have a completely different direction of how the song develops.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>You mentioned before on <i>Priest Lake Circa ’88</i> you were working from a memory and a feeling for a particular time – I guess in a way that is almost like working to a soundtrack, you’ve got a distinct idea of a particular emotion you’re trying to evoke. Has that been something you’ve used as a jumping point for your other albums?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> No actually, it’s funny. So for a timeline: <i>The Sound of Lights When Dim</i> was what all artists say: I had my whole life to write that album. That was a collection of songs that had probably been bubbling for years. Then <i>The Slow and Steady Winter</i> and <i>Priest Lake Circa ’88</i> – those two albums together were actually the album that I sent to Cam as my second that he said no way on because it’s the full-on ’80s hair metal. And so those albums are what I reworked into what they are now. <i>Slow and Steady Winter</i> was actually re-edited over the winter, and I think because of that, that album has a very sombre vibe to it, and I would definitely say that because of being told no, so to speak, that kind of sent me into this sort of – not depressive state, but like, “OK, now what?” I’m in this nuclear winter in Washington when nothing happens, so that album is what took on a lot of that icy, reverbed, lengthy sound. <i>Priest Lake Circa ’88</i> – those tracks were still ones that I couldn’t quite make as cold sounding, so they still had that very warm, I’d say summery kind of rock vibe, and as I slowly came out of that winter, that vision really held tight and I just worked on it.\r\n\r\nBut albums nowadays – I’ve noticed the last three albums, I never really have a vision. It’s always one track is what gets created first, and the whole rest of the album kind of centres around that track. Which in a way is kind of a funny – or an ironic statement – because I’ve heard a lot of composers say, when they start working with a director, the director will have scenes for them to view and there’ll be temp music – songs that they’ve used from another film, or they’ll say “I’m looking for something like this” – and then they create this one track where the director says, “That’s it, that’s the sound,” and everything revolves around that. In most soundtracks there’s a common theme or a cue or a certain melody that is built upon or deconstructed, so that’s probably how a lot of my last three albums have worked. And the last three albums have really been a much more dive-into, score-like music, so I guess that’s an ironic twist of fate to how I approach it now. Nowadays there’s one song that tends to be the ground zero and everything else builds around it.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>What was that ground zero song on <i>The Cogent Sea?</i>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That was probably ‘Coming Back,’ the fourth track on the album. That was the big one for me. That one really kind of started it, because there’s a sort of just a staccato guitar chime in the beginning, and then the subtle melody notes over it, and that pulsing arpeggio bass in there. And that’s really what kind of sparked the rest of that vintage ’80s sound – it kind of has an almost sort-of cop drama ’80s sound to it, you know, with that menacing bass that typically underscores a very intense moment when they’re looking at a file. I think, again, a lot of those influences come to me from those ’80s films and sounds, but I didn’t want it to be super-sharp staccato bass like in ’80s movies; I rounded it off with a bit of a filter to give it more of that modern, textural quality.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span></b> I was surprised listening to <i>The Cogent Sea</i> that you didn’t pick something composed by Vangelis because I hear a lot of that aesthetic in it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The song ‘O Captain! My Captain!’ with that big, thick synth – that was really prevalent on a lot of the <i>Blade Runner</i> stuff that he did. That soundtrack was probably a pretty big soundtrack over the last two albums in a tone and in structure – because if you look at a lot of my older albums, there isn’t a lot of synth work. There’s a lot more guitars being manipulated, whereas the last two albums, I really started to dive much more into synths that you wouldn’t hear on a lot of those previous albums. For me, I always loved very warm, organic sounds, and I think there’s a sort of giving up that prejudice of synthetic sounds. Which is funny because I love synthpop music, but I never wanted to see that in my music for some reason, but then there was just this kind of turning point for me during the making of <i>Laterna Magica</i> where I started to use very quintessential chime sounds that were from an old Jupiter, and I love those tones now. I’ve started to use them a lot more, and that’s why I think you’ll see a lot more synth work on this new album than anything before.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Are you working on any new material now?\r\n\r\n<b>DS:</b> Right now Jarrod from <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a> – which is another band I’m in with Thomas – we’re working on the new album for City of Satellites, and Jarrod and I also have a side project called The October Solution and we’re working on that new album, so there probably won’t be a new album from Slow Dancing Society for at least a good year or two. It could be sooner – you know, it’s funny, a lot of times these albums, like I said a moment ago, when you get that one track that’s the ground zero, the rest just falls into place. There’s always that moment of panic when I’m working on tracks and nothing’s coming together, there’s no vision and I’m like, I don’t know when a new album’s going to be ready. But then all of a sudden one track happens and it just explodes. But I do have an EP that was kind of some outtakes of sorts from <i>The Cogent Sea</i> that just didn’t really seem to fit the overall vibe of that album, and by themselves they’re a much more cohesive unit. There are about six tracks which will probably be released late summer, early fall, maybe winter at the latest. The songs are all done, there’s just the matter of a release time with Hidden Shoal.\r\n\r\n&nbsp;\r\n<h4><b><i>Michael Clayton</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b> </span>That’s a great score. That was probably more score-like than the other ones. <i>Traffic</i> was very guitar-based with synthesizer tones and washy sounds. Same with <i>Stay</i>, that’s very much more piano-based with some guitar tracks in there. Whereas <i>Michael Clayton</i> – that’s quintessential percussion, those very filtered deep rumbling bass loops and percussive notes and beds. I saw that movie again too because of James Newton Howard, and I’ve seen a lot of his stuff and I like his big, grand-sounding scores. But that score is really one of those very minimal scores again – there aren’t a lot of big orchestral moments. It’s very otherworldly and it’s got that tension of sorts that I tend to like and that I’m leaning more towards. Because I’d say <a title=\"Laterna Magica\" href=\"https://slowdancingsociety.bandcamp.com/album/laterna-magica\" target=\"_blank\"><i>Laterna Magica </i></a>was probably a turning point in Slow Dancing Society’s overall sound where it got a little darker and not as ethereal, so that score was really a big influence for that, that idea of tension and a thriller type of vibe.\r\n<iframe src=\"//www.youtube.com/embed/MGZTrE070tk?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>There’s a great sense of urgency and it’s almost hard to listen to it without feeling a little uneasy. It’s hard to listen to it separately, whereas something like Danny Elfman, you can listen to it separately and enjoy it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And I love that score. And again, I think the thing too is that a lot of these scores where you mentioned earlier you don’t see it shining through in my music, what I tend to take from music is less about the particular artists and their sounds or style, but the way in which certain sounds sound. If you listen to that James Newton Howard score, the way in which the drums sound very almost watery and filtery, there’s a certain texture to them and I really like that sound, so I try to implement those kind of sounds into say, a song on <i>The Cogent Sea</i> like ‘Reach Out,’ which is really just an 808 machine, but I try to make those drums sound similar to the way they sounded on that score, so there’s no urgency or unease in that sound at all, but the sound in the way in which those sonics were, that’s kind of what I go for a lot of times.\r\n\r\n&nbsp;\r\n<h4><strong><i>Into </i><i>Forever </i></strong></h4>\r\nThis is not a film soundtrack as such but it feels like the soundtrack to something. <em>Into Forever</em> is the work of Manual (aka <a title=\"Jonas Munk\" href=\"https://www.facebook.com/pages/Jonas-Munk/189165807772795\" target=\"_blank\">Jonas Munk</a>) and Icebreaker International and is one of Munk\'s most underrated and hidden albums. If you read the liner notes it talks about – and this is totally a fake story, but it’s such a cool story the way they did this as a marketing ploy – is that there’s some sort of science academy in some far Eastern European country that funded the making of this album, and the album will be played on an infinite loop on this satellite that they’re going to launch into space with the hopes that the sound will travel for eternity into space, that any planetary being that reaches these sounds will hear them. And it was a very cool idea. If you look at the song titles there’s ‘The Countdown,’ so that’s the launching of the satellite, and then there’s ‘The Outer Rings’ and ‘The Inner Rings,’ so it’s like the journey of this satellite travelling through space and it’s a gorgeous, gorgeous album.\r\n\r\nPeople say it’s like space rock and it’s got a definite feel that you’re suspended in space listening to that album. Probably even more so in my opinion than ‘An Ending (Ascent)’ from Brian Eno which came from the <i>Apollo </i>soundtrack and the score to that movie about the Apollo space mission. Because that album with Eno was a little bit more – and it’s probably subject to the time and the sounds that were available – it has a little bit more of, I want to say cheese factor, but some songs just don’t seem to work as well for what’s going on, whereas <i>Into Forever</i>, you can put that on and just completely drift away into another world. It’s an amazing album.\r\n&nbsp;\r\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3013674606/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://manual.bandcamp.com/album/into-forever\">Into Forever by Icebreaker International &amp; Manual</a></iframe>\r\n&nbsp;\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>Do you try to work in that narrative sense when you’re sequencing tracks?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The thing that’s funny about that is you would think that the ground zero could either be the alpha or the omega – the beginning of the album or the end of the album, like the finale, or even the arc of the story. But really, it builds less in a narrative sense for me. Sometimes it will build in a narrative sense, I’ll really kind of try to create a story, but the way in which songs flow together is almost more happenstance where, let’s say when working on ‘Coming Back,’ there might be four or five individual tracks within that song that didn’t quite make the final edit, but there’s still something very textural about them that I liked, so those will develop into another song, and because of the way in which they sounded was within the same kind of cadence or even the key of a song like ‘Coming Back,’ that would make it very easy to be the song before or after that on the album.\r\n\r\nOne trick of the trade for me is I put all my songs once they’re done onto shuffle on my iPod. <i>The Cogent Sea </i>– the funny thing is, the actual tracklisting or order was from a total happenstance randomization on my iPod. It just worked. I listened to probably 30 incarnations of that. First I try to put them together myself, as in, “Here’s how I think they should sound.” Sometimes it feels forced, sometimes there’s a bit of a jump here or there or something doesn’t feel right, but this one lucky afternoon, that album order it played was perfect. So somewhere deep in the macro algorithm of an iPod is how that happened.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>What’s the overall feeling or memory that you’re trying to translate or communicate with <i>The Cogent Sea</i>?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> I think <i>The Cogent Sea</i> probably for me is the culmination of all styles of music that I loved as a kid and an adult. I have a pretty wide range of musical tastes. And I always dislike when people say “I have an eclectic taste in music” because I think that’s just kind of a little, trying to sound –\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>It’s lazy.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. There’s nothing wrong with saying that you like this style of music and only that. There’s nothing wrong with that at all, but I think people feel that they need to like a lot of different music. For me it’s less about liking all styles of music and more I love sounds and textures and how they work together.\r\n\r\nOne sound in particular is country music. I can’t stand country singers, but I absolutely love the sound of Fender Telecasters which are a very common guitar used in country music, and Rhodes pianos and steel guitars or pedal steels. I love the sounds of those textures so I like some country music in that sense. But I think with <i>The Cogent Sea</i>, I was trying to make an album – and not even trying, it was really just what came out, actually – of music that I just love and listen to.\r\n\r\nI think nowadays, if you look at the last three albums from the first albums, I always feel that an artist’s first couple of albums are them trying to find a place and fit in somewhere. And obviously at the time they’re very much into the music that they’re writing and playing and producing at that time, but it’s always the torturous thing that happens to artists as they get older is that they’re not going to make an album that they did five or ten years ago today.  They might, but it might be forced, and that’s where I feel the progression of what I do now musically has really started to show more so into what I listen to. Back on <i>The Sound of Lights When Dim</i>, all I listened to was IDM or ambient music, whereas nowadays with <i>The Cogent Sea</i> and listening to a song like ‘Reach Out’, you can tell that I was probably listening to a lot more Phil Collins or Erasure at the time, probably because I remember those bands. My mom played a lot of music when I was young, she was always listening to MTV or having it on the TV when I was five or six, so again I owe that to my parents a lot – that exposure to those music and those different styles and scenes.','Sound and Scene with Drew Sullivan of Slow Dancing Society','','inherit','closed','closed','','10836-revision-v1','','','2014-10-03 11:28:54','2014-10-03 03:28:54','',10836,'http://www.hiddenshoal.com/10836-revision-v1/',0,'revision','',0),(10867,1,'2014-10-03 16:30:12','2014-10-03 08:30:12','<img class=\"alignleft wp-image-9141 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Drew-Sullivan-2014-300x300.jpg\" alt=\"Slow Dancing Society\" width=\"204\" height=\"204\" /><a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a> is the moniker of ambient composer and sonic wunderkind Drew Sullivan, who’s responsible for some of the most ethereal and compelling pieces in Hidden Shoal’s catalogue. Through six albums over eight years, the evocative textures in Sullivan’s body of work play out like soundtracks to movies that don’t exist. From the nostalgic crescendos of <em><a title=\"Priest Lake Circa \'88\" href=\"https://slowdancingsociety.bandcamp.com/album/priest-lake-circa-88\" target=\"_blank\">Priest Lake Circa ‘88</a></em> to the Eno-meets-Vangelis minimalism of his latest record <a title=\"The Cogent Sea\" href=\"https://slowdancingsociety.bandcamp.com/album/the-cogent-sea\" target=\"_blank\"><em>The Cogent Sea</em></a>, Sullivan is a master of manipulating mood and emotion through sound. In this new feature on Hidden Shoal, our own Matthew Tomich spoke with Sullivan about his favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><b><i>Edward Scissorhands</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> In chronological order that’d be the best one, because that was probably my first introduction to really enjoying score music for films. I was always into movies at a young age so I always felt like I was aware of what was going on musically. Because when you’re six, seven or eight, you’ve got your favourite movies, and I kind of tended to watch a lot of adult movies. My dad would watch them with me and I attribute a lot of my love for things of the ’80s to my dad. And my mom – she played a lot of ’80s music for me. I’m 34, so in 1984 I was 4 years old, so a lot of the movies of that time that I really like I should not have ever seen. So dad watching them with me and always saying, “Oh, that doesn’t really happen that way” – it was funny, I had a really good sense of what was real at a young age.\r\n\r\nBut back to that movie – Danny Elfman I think had a kind of – and still does – a very unique style. He’s kind of ran his course; it’s always the same sound now, but it was this very phantasmic, fairytale sort of sound, and I think I attribute a lot of my ideas for melodies and usage of certain sounds like choirs and those kinds of vocal overtones and bells from him and from that soundtrack. I still love that soundtrack. It’s funny, I had it on tape of course at the time, and they always say you wear it out, but I truly did wear that tape out. But it made me think that if you ever listen to a brand new cassette tape, it doesn’t sound like a warbly tape like all these new plugins make your old vintage music sound like. And I think the reason why people want that tape sound is that if you have an album or favourite music you wore the hell out of, it started to warble, and the tape started to disintegrate, and that’s why we have that sound. It’s almost more about the memory of a sound than the actual quality because tape was a quality device back then. But I loved that soundtrack, I still listen to it today.\r\n\r\n<iframe src=\"//www.youtube.com/embed/M94yyfWy-KI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>When you’ve listened to a soundtrack so much, are you almost listening to it first than watching it – rather than waiting for a scene, you’re waiting for a refrain or a melody?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. It’s funny – I’m kind of like that with a lot of movies, even modern ones where I know the score really well. I tend to go watch a movie because of the composer, and I’ve been turned on to a lot of movies because of composers that I probably wouldn’t have normally chosen to see. So I tend to be anticipating that next cue in the movie, and it’s a weird way of watching a movie. I don’t think a lot of people probably view movies that way. A lot of composers will say, “If you don’t recognise that my music is playing in the background then I’ve done a good job because I’ve just made that a seamless moment where the music has underscored the scene.”\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>One thing I noticed with that and with a lot of Danny Elfman soundtracks I’ve heard is the sense of a dark, carnivalesque sound to it – it’s playful, but there’s that eerie undertone.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And it really fits Burton’s vision really well. You see a lot of composers – and we’ll talk a little later about Cliff Martinez, he and Steven Soderbergh have worked so many times together – and I think there are certain directors that just really mesh and the sound of someone’s music just works with their vision. I just watched <i>Beetlejuice</i> last night, it was on TV, and again it’s that quintessential Danny Elfman sound – it’s a very playful but dark sound. He did a score for a movie called <i>Nightbreed</i> which really flew under the radar, and that’s a really good score that no one really talks about. It’s very tribal. The movie is about this tribe of monsters that live underneath a graveyard, which sounds really stupid when you say it, but it’s a Clive Barker story and it’s really good. But his score in that is very good, very nice. Not as playful – it’s much more the darker style.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Listening to <i>Edward Scissorshands</i> and then listening to your stuff afterwards, I was expecting to hear some of those influences, but it wasn’t really coming through, because your music is a lot more contemplative, serious, and for a lack of a better expression, highbrow. Is <i>Nightbreed</i> closer to the tone that you go for or closer to what you take from Elfman’s music?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> You know, I was laughing to myself the other day about this, where I have all these influences that I state all the time, and a lot of times they won’t shine through in what I do. One of my favourite albums that I was really passionate about was the <i>Priest Lake Circa ‘88</i> album and I tell everyone that that was my attempt at making a hair metal album. Probably three quarters of the album was original material that I had sent to Cam Merton [at Hidden Shoal] and he was like, “No way is this going to work.” So when I look back on it, it was a pretty ambitious move to make such an album. So what I did was the typical re-editing and mixing and washing it in reverb and delay and it turned out to be way better than what I initially went out for. It was a perfect thing to happen because when I listen to that album now, I can totally hear hair metal music in it for me, because there’s all sorts of soaring guitars in there that were delayed and reverbed as I’d said, but it takes on the way we remember music as opposed to the way the music actually sounded.\r\n\r\nIt was kind of like <i>Priest Lake</i> was supposed to be a memory of a time in my life. And it’s going to be like all memories – it’s going to be fuzzy around the edges, a lot of it’s going to be probably wrong from the way it actually happened, and everyone’s interpretation’s going to be a little different. Because when I still listen to hair metal music today, it brings me back to those moments of my childhood, but it doesn’t quite sound as grand and as luxurious or epic to me as it did then. And that’s understandable, but I think that’s what I try to do with most of my influences – take the way they made me feel – and that’s probably where the contemplative tone comes through. You’re longing for those days of when life was just a little bit easier and there were no diapers.\r\n\r\n&nbsp;\r\n<h4><b><i>Stay</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That’s a good example of how I say that I found out about the movie through the people that did the score. The guys that did that – Ashe and Spencer – they’re kind of a unique scoring company because there are like 8 to 15 people for that company. Ashe and Spencer are the two main original guys, but they have these revolving musicians that come through and do stuff for them. It’s a very co-op sort of vibe. They did a movie called <i>Monsters Ball</i> with Heath Ledger and Billy Bob Thornton, and that was a great movie and I really liked that score, and because I saw on IMDb that they were scoring <i>Stay</i>, I went to go watch it one night and that movie turned out to be just an incredibly visually stunning movie, and their music was so perfect for it. The way in which each scene melded into the next scene was like – there’d be a scene where they’re driving by the Brooklyn Bridge and one of the main – I guess I’d say tower portions of that bridge – melded into the next scene, which was a chess board with a Brooklyn-themed chess piece. And it wasn’t cheesy; it was really well done CGI. So the movie is a very dream state movie that I won’t spoil it because the ending is necessary to understand the whole vibe of the movie, but those guys on that movie, their score was so good.\r\n\r\nThat score was in 2004 and that was right around when I was working on <i>The Sound of Lights When Dim</i>, and so I didn’t really have the wherewithal or I guess the experience to really know how to manipulate sound as well as I’ve gotten to the point now over the experience of time, but they had a behind-the-scenes featurette on that score which is on the DVD about how they did the music, and it was really impressive and amazing how they made a lot of their sounds. Very organic, lack of plug-ins. One particular thing that stuck with me is they took a piano and recorded every single note through an old tape machine, and one of the tape heads was rotten and broken, and they would actually touch the tape throughout each piece. And so then they had every key of the piano recorded, and then they would map those audio files to a MIDI keyboard. Then they played it through a plug-in of sorts or a sampler, but each key would have a very unique characteristic when you’d play a chord, and I guess the piano was kind of – it wasn’t even like a warble, it was just this very otherworldly sounding piano, and it’s just amazing.\r\n\r\n<iframe src=\"//www.youtube.com/embed/KIk5rfA5uWE?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>That one more so than the Elfman soundtrack, I could hear a lot more of that in your music. And I like how it had that scrape of metal synthetic sound to it. You mentioned the organic approach they took – is that something you try to do a lot of?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. I don’t have as much of an ability to do field recordings or record pianos that way, so I probably tend to do it a lot longer – or at least my workaround, for lack of a better word – is a lot longer than it probably needs to be, because I don’t have a piano. I have a VST of a piano so I’ll take notes and kind of record those notes and mangle it a little with plugins that I have, and then put it back into the track. So I may have 15 individual tracks to make one piano chord just to try to make that sound. So it’s a lot harder workaround, but I don’t have the tape machine or the microphones to do that.\r\n\r\n&nbsp;\r\n<h4><b><i>Traffic</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That came out a couple of years before <i>Stay</i> but I remember seeing that movie – because it was a pretty big, popular movie at the time – and I remember the very end of the movie, it wasn’t even a Cliff Martinez song, it was ‘An Ending (Ascent)’ by Brian Eno. And that was probably the first time I’d ever heard that song, actually, which is funny, because everyone always assumes as an ambient artist that Eno is a big influence, and I didn’t discover him until very, very late into my musical ambitions. And he still is, but that song is just one of those perfect songs where the melody and the chord progression is amazing. It’s very simple. I mean really, there’s one instrument – I’m sure there are probably a couple of different tracks and layers, but it’s really just one synthesizer. There’s not a lot of layers and I tend to be excessive in layering of music – you know, the whole less is more – but that song is perfect. So that really got me to pay attention to the score and go back and hear it. That was what began my love affair with Cliff Martinez, is that score.\r\n\r\n<iframe src=\"//www.youtube.com/embed/qNgvVVjgK68?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS:</b></span> Interesting you mentioned Eno and that minimalistic take, because he composed the Windows 95 start-up sound. He often worked on that microscopic level where you’re dealing with fractions of a second. You said that you work on the opposite to the less is more scale, but do you ever get that meticulous?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Well yeah, because what I’ve found with a lot of my favourite musicians that aren’t influences – just music I like to listen to – is that the more and more, you can always pick up something from a rock band or even a house track in the way it’s produced and the way the sounds work together – that timbre, so to speak, of the instruments. And I find that a lot of times, these sounds that we think we’re hearing as another layer is not so much another layer of music but actually the two tones of each individual instrument playing together, and even that sort of silence in between those instruments serves as an instrument in and of itself; it kind of fills in those gaps. So I try to really approach those minimalistic things and really get back to it. Once it gets too busy, it’s just that – there’s too much going on; you can’t really focus on just the decay of a certain sound. And then at that point when you’ve got too much going on, it’s going to get muddy, everything’s going to start fighting for its own place in the mix, and you’ve just got a discombobulated sound. A good example on that <i>Stay </i>soundtrack is there are a lot of portions in that music where the piano note will just ring and then that note will decay and reverse and pull it back and pan it left. It’s taking one single sound and really abusing, so to speak, the nature of that one sound.\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>In terms of how soundtracks and composers work – do you ever try and go less for, “I want this to sound like this,” but more, “I want this to make someone feel this way,” in a way that a composer would go for “here’s my visual accompaniment, here’s the feeling that we’re going for.” Do you find an equivalent to that approach?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. I did a score for an independent film. It was called <i>The Key</i>. I got introduced to this guy by a friend of mine when I was living in Los Angeles and I’m not even sure where you can find it online. I’m sure you could YouTube it, it’s just called <i>The Key</i>, and it’s even on IMDb if you were to search through my name because I am tagged to that movie. So that was a fun experience where the director was sort of new, so there wasn’t really a big vision of what he wanted, which was helpful because I think that would be difficult to have to try to make a sound or a moment based on what you’re watching. Because in that experience, when he gave me the footage, it’s a very odd thing to watch a movie with no sound and no music. You feel very on the spot to create something that works with that, and I think that’s the beauty about a lot of scores – when you watch a movie and you hear the sound, you’re like, wow, I never would’ve thought of that sound in that moment but it works so beautifully. And I’m sure there was a lot of trial and error with that director and that composer to make that happen, and maybe it might have just been a magic moment.\r\n\r\nFor myself, because I don’t have that experience of working with directors – not yet, hopefully I will in the future – I probably always sit down when I write music trying to evoke a mood. It never feels forced. I think I would probably tend to kind of float in that melancholy, contemplative state as you said at the beginning of our conversation, but a lot of it kind of just develops over time. It’s funny because I’m not a generally contemplative person – of course I think we all kind of long for those days – but it’s almost a catharsis when you do music, when you do sad music or music that sounds contemplative, you’d think you have to be in the kind of doldrums to do it, but really, it’s that expression of it that I think by the time you’re done with it, you don’t really have that burden anymore. I guess I kind of sit down trying to evoke a mood, and very rarely do I ever say I want it to be this way – that I want it to be sad or I want it to be happy – because with anything artistic, you can’t just sit down and do something. It’s usually got to be when inspiration strikes or when you get a certain kind of sound in your mind that you want to go record. And depending upon how you feel that particular day, what occurred, you may have a completely different direction of how the song develops.\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>You mentioned before on <i>Priest Lake Circa ’88</i> you were working from a memory and a feeling for a particular time – I guess in a way that is almost like working to a soundtrack, you’ve got a distinct idea of a particular emotion you’re trying to evoke. Has that been something you’ve used as a jumping point for your other albums?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> No actually, it’s funny. So for a timeline: <i>The Sound of Lights When Dim</i> was what all artists say: I had my whole life to write that album. That was a collection of songs that had probably been bubbling for years. Then <i>The Slow and Steady Winter</i> and <i>Priest Lake Circa ’88</i> – those two albums together were actually the album that I sent to Cam as my second that he said no way on because it’s the full-on ’80s hair metal. And so those albums are what I reworked into what they are now. <i>Slow and Steady Winter</i> was actually re-edited over the winter, and I think because of that, that album has a very sombre vibe to it, and I would definitely say that because of being told no, so to speak, that kind of sent me into this sort of – not depressive state, but like, “OK, now what?” I’m in this nuclear winter in Washington when nothing happens, so that album is what took on a lot of that icy, reverbed, lengthy sound. <i>Priest Lake Circa ’88</i> – those tracks were still ones that I couldn’t quite make as cold sounding, so they still had that very warm, I’d say summery kind of rock vibe, and as I slowly came out of that winter, that vision really held tight and I just worked on it.\r\n\r\nBut albums nowadays – I’ve noticed the last three albums, I never really have a vision. It’s always one track is what gets created first, and the whole rest of the album kind of centres around that track. Which in a way is kind of a funny – or an ironic statement – because I’ve heard a lot of composers say, when they start working with a director, the director will have scenes for them to view and there’ll be temp music – songs that they’ve used from another film, or they’ll say “I’m looking for something like this” – and then they create this one track where the director says, “That’s it, that’s the sound,” and everything revolves around that. In most soundtracks there’s a common theme or a cue or a certain melody that is built upon or deconstructed, so that’s probably how a lot of my last three albums have worked. And the last three albums have really been a much more dive-into, score-like music, so I guess that’s an ironic twist of fate to how I approach it now. Nowadays there’s one song that tends to be the ground zero and everything else builds around it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>What was that ground zero song on <i>The Cogent Sea?</i>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That was probably ‘Coming Back,’ the fourth track on the album. That was the big one for me. That one really kind of started it, because there’s a sort of just a staccato guitar chime in the beginning, and then the subtle melody notes over it, and that pulsing arpeggio bass in there. And that’s really what kind of sparked the rest of that vintage ’80s sound – it kind of has an almost sort-of cop drama ’80s sound to it, you know, with that menacing bass that typically underscores a very intense moment when they’re looking at a file. I think, again, a lot of those influences come to me from those ’80s films and sounds, but I didn’t want it to be super-sharp staccato bass like in ’80s movies; I rounded it off with a bit of a filter to give it more of that modern, textural quality.\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span></b> I was surprised listening to <i>The Cogent Sea</i> that you didn’t pick something composed by Vangelis because I hear a lot of that aesthetic in it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The song ‘O Captain! My Captain!’ with that big, thick synth – that was really prevalent on a lot of the <i>Blade Runner</i> stuff that he did. That soundtrack was probably a pretty big soundtrack over the last two albums in a tone and in structure – because if you look at a lot of my older albums, there isn’t a lot of synth work. There’s a lot more guitars being manipulated, whereas the last two albums, I really started to dive much more into synths that you wouldn’t hear on a lot of those previous albums. For me, I always loved very warm, organic sounds, and I think there’s a sort of giving up that prejudice of synthetic sounds. Which is funny because I love synthpop music, but I never wanted to see that in my music for some reason, but then there was just this kind of turning point for me during the making of <i>Laterna Magica</i> where I started to use very quintessential chime sounds that were from an old Jupiter, and I love those tones now. I’ve started to use them a lot more, and that’s why I think you’ll see a lot more synth work on this new album than anything before.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Are you working on any new material now?\r\n\r\n<b>DS:</b> Right now Jarrod from <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a> – which is another band I’m in with Thomas – we’re working on the new album for City of Satellites, and Jarrod and I also have a side project called The October Solution and we’re working on that new album, so there probably won’t be a new album from Slow Dancing Society for at least a good year or two. It could be sooner – you know, it’s funny, a lot of times these albums, like I said a moment ago, when you get that one track that’s the ground zero, the rest just falls into place. There’s always that moment of panic when I’m working on tracks and nothing’s coming together, there’s no vision and I’m like, I don’t know when a new album’s going to be ready. But then all of a sudden one track happens and it just explodes. But I do have an EP that was kind of some outtakes of sorts from <i>The Cogent Sea</i> that just didn’t really seem to fit the overall vibe of that album, and by themselves they’re a much more cohesive unit. There are about six tracks which will probably be released late summer, early fall, maybe winter at the latest. The songs are all done, there’s just the matter of a release time with Hidden Shoal.\r\n\r\n&nbsp;\r\n<h4><b><i>Michael Clayton</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b> </span>That’s a great score. That was probably more score-like than the other ones. <i>Traffic</i> was very guitar-based with synthesizer tones and washy sounds. Same with <i>Stay</i>, that’s very much more piano-based with some guitar tracks in there. Whereas <i>Michael Clayton</i> – that’s quintessential percussion, those very filtered deep rumbling bass loops and percussive notes and beds. I saw that movie again too because of James Newton Howard, and I’ve seen a lot of his stuff and I like his big, grand-sounding scores. But that score is really one of those very minimal scores again – there aren’t a lot of big orchestral moments. It’s very otherworldly and it’s got that tension of sorts that I tend to like and that I’m leaning more towards. Because I’d say <a title=\"Laterna Magica\" href=\"https://slowdancingsociety.bandcamp.com/album/laterna-magica\" target=\"_blank\"><i>Laterna Magica </i></a>was probably a turning point in Slow Dancing Society’s overall sound where it got a little darker and not as ethereal, so that score was really a big influence for that, that idea of tension and a thriller type of vibe.\r\n<iframe src=\"//www.youtube.com/embed/MGZTrE070tk?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>There’s a great sense of urgency and it’s almost hard to listen to it without feeling a little uneasy. It’s hard to listen to it separately, whereas something like Danny Elfman, you can listen to it separately and enjoy it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And I love that score. And again, I think the thing too is that a lot of these scores where you mentioned earlier you don’t see it shining through in my music, what I tend to take from music is less about the particular artists and their sounds or style, but the way in which certain sounds sound. If you listen to that James Newton Howard score, the way in which the drums sound very almost watery and filtery, there’s a certain texture to them and I really like that sound, so I try to implement those kind of sounds into say, a song on <i>The Cogent Sea</i> like ‘Reach Out,’ which is really just an 808 machine, but I try to make those drums sound similar to the way they sounded on that score, so there’s no urgency or unease in that sound at all, but the sound in the way in which those sonics were, that’s kind of what I go for a lot of times.\r\n\r\n&nbsp;\r\n<h4><strong><i>Into </i><i>Forever </i></strong></h4>\r\nThis is not a film soundtrack as such but it feels like the soundtrack to something. <em>Into Forever</em> is the work of Manual (aka <a title=\"Jonas Munk\" href=\"https://www.facebook.com/pages/Jonas-Munk/189165807772795\" target=\"_blank\">Jonas Munk</a>) and Icebreaker International and is one of Munk\'s most underrated and hidden albums. If you read the liner notes it talks about – and this is totally a fake story, but it’s such a cool story the way they did this as a marketing ploy – is that there’s some sort of science academy in some far Eastern European country that funded the making of this album, and the album will be played on an infinite loop on this satellite that they’re going to launch into space with the hopes that the sound will travel for eternity into space, that any planetary being that reaches these sounds will hear them. And it was a very cool idea. If you look at the song titles there’s ‘The Countdown,’ so that’s the launching of the satellite, and then there’s ‘The Outer Rings’ and ‘The Inner Rings,’ so it’s like the journey of this satellite travelling through space and it’s a gorgeous, gorgeous album.\r\n\r\nPeople say it’s like space rock and it’s got a definite feel that you’re suspended in space listening to that album. Probably even more so in my opinion than ‘An Ending (Ascent)’ from Brian Eno which came from the <i>Apollo </i>soundtrack and the score to that movie about the Apollo space mission. Because that album with Eno was a little bit more – and it’s probably subject to the time and the sounds that were available – it has a little bit more of, I want to say cheese factor, but some songs just don’t seem to work as well for what’s going on, whereas <i>Into Forever</i>, you can put that on and just completely drift away into another world. It’s an amazing album.\r\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3013674606/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://manual.bandcamp.com/album/into-forever\">Into Forever by Icebreaker International &amp; Manual</a></iframe>\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>Do you try to work in that narrative sense when you’re sequencing tracks?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The thing that’s funny about that is you would think that the ground zero could either be the alpha or the omega – the beginning of the album or the end of the album, like the finale, or even the arc of the story. But really, it builds less in a narrative sense for me. Sometimes it will build in a narrative sense, I’ll really kind of try to create a story, but the way in which songs flow together is almost more happenstance where, let’s say when working on ‘Coming Back,’ there might be four or five individual tracks within that song that didn’t quite make the final edit, but there’s still something very textural about them that I liked, so those will develop into another song, and because of the way in which they sounded was within the same kind of cadence or even the key of a song like ‘Coming Back,’ that would make it very easy to be the song before or after that on the album.\r\n\r\nOne trick of the trade for me is I put all my songs once they’re done onto shuffle on my iPod. <i>The Cogent Sea </i>– the funny thing is, the actual tracklisting or order was from a total happenstance randomization on my iPod. It just worked. I listened to probably 30 incarnations of that. First I try to put them together myself, as in, “Here’s how I think they should sound.” Sometimes it feels forced, sometimes there’s a bit of a jump here or there or something doesn’t feel right, but this one lucky afternoon, that album order it played was perfect. So somewhere deep in the macro algorithm of an iPod is how that happened.\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>What’s the overall feeling or memory that you’re trying to translate or communicate with <i>The Cogent Sea</i>?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> I think <i>The Cogent Sea</i> probably for me is the culmination of all styles of music that I loved as a kid and an adult. I have a pretty wide range of musical tastes. And I always dislike when people say “I have an eclectic taste in music” because I think that’s just kind of a little, trying to sound –\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>It’s lazy.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. There’s nothing wrong with saying that you like this style of music and only that. There’s nothing wrong with that at all, but I think people feel that they need to like a lot of different music. For me it’s less about liking all styles of music and more I love sounds and textures and how they work together.\r\n\r\nOne sound in particular is country music. I can’t stand country singers, but I absolutely love the sound of Fender Telecasters which are a very common guitar used in country music, and Rhodes pianos and steel guitars or pedal steels. I love the sounds of those textures so I like some country music in that sense. But I think with <i>The Cogent Sea</i>, I was trying to make an album – and not even trying, it was really just what came out, actually – of music that I just love and listen to.\r\n\r\nI think nowadays, if you look at the last three albums from the first albums, I always feel that an artist’s first couple of albums are them trying to find a place and fit in somewhere. And obviously at the time they’re very much into the music that they’re writing and playing and producing at that time, but it’s always the torturous thing that happens to artists as they get older is that they’re not going to make an album that they did five or ten years ago today.  They might, but it might be forced, and that’s where I feel the progression of what I do now musically has really started to show more so into what I listen to. Back on <i>The Sound of Lights When Dim</i>, all I listened to was IDM or ambient music, whereas nowadays with <i>The Cogent Sea</i> and listening to a song like ‘Reach Out’, you can tell that I was probably listening to a lot more Phil Collins or Erasure at the time, probably because I remember those bands. My mom played a lot of music when I was young, she was always listening to MTV or having it on the TV when I was five or six, so again I owe that to my parents a lot – that exposure to those music and those different styles and scenes.','Sound and Scene with Drew Sullivan of Slow Dancing Society','','inherit','closed','closed','','10836-revision-v1','','','2014-10-03 16:30:12','2014-10-03 08:30:12','',10836,'http://www.hiddenshoal.com/10836-revision-v1/',0,'revision','',0),(10849,1,'2014-10-03 14:11:24','2014-10-03 06:11:24','\"Brother Earth is the collaboration of The Library is On Fire front man Steve Five and Circus Devils’ Todd Tobias. Brother Earth began recording in 2008 and this their debut album featured a collection of their tracks over the past 5 years.\r\n\r\nThe album works as a spacey dream sequence with a collection of musical pieces that go off in different directions from each other yet seem to flow from one to the other in a way that works. The 16 tracks on offer range between 50 seconds and 4 minutes with half the tracks being less than 2 minutes. The result is an amazing journey with a banquet of sounds twisting, turning, and contrasting against each other. This ensures the album is interesting the whole way through with new ideas popping up.\r\n\r\nThe lead single from the album, <em>Out like a lion,</em> is a main highlight to the album. The minimalist lo fi folk sounds paired with a sombre whimsical vocal creates a beautiful experience! The follow up single <em>City of gold</em>, is a short and sweet spacey experience in the vein of Porcupine Tree. Going for just over a minute the song packs depth and atmosphere transporting you out somewhere far away! <em>Girl with the crystal tears</em> is another standout to the album. Mixing an experimental industrial soundtrack with a Beck-esq indie narrative the track works as an offbeat indie tune that it quite unconventional but really cool!\r\n\r\nIn addition there is some experimental prog rock tunes with the DIY sounding opener Plum Creek, and the spacey Hidden valleys of tomorrow. There are also some rocking tunes such as the off beat indie pop tune Sunny side of the street, and the gritty and raw Cortez the cuddler.\r\n\r\nThis is a very brave release with a large range of ideas crammed into one album, however it is pulled off with dynamic flair. On top of the wierd and wonderful twists and turns is a beautiful journey with vivid soundscapes and a breathtaking spacey atmosphere!\"\r\n\r\n<strong>- <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\">Tomatrax</a></strong>','Brother Earth \"Positive Haywires\" Reviewed at Tomatrax','','publish','closed','closed','','brother-earth-positive-haywires-reviewed-at-tomatrax','','','2014-10-03 14:11:24','2014-10-03 06:11:24','',0,'http://www.hiddenshoal.com/?p=10849',0,'post','',0),(10850,1,'2014-10-03 14:11:24','2014-10-03 06:11:24','\"Brother Earth is the collaboration of The Library is On Fire front man Steve Five and Circus Devils’ Todd Tobias. Brother Earth began recording in 2008 and this their debut album featured a collection of their tracks over the past 5 years.\r\n\r\nThe album works as a spacey dream sequence with a collection of musical pieces that go off in different directions from each other yet seem to flow from one to the other in a way that works. The 16 tracks on offer range between 50 seconds and 4 minutes with half the tracks being less than 2 minutes. The result is an amazing journey with a banquet of sounds twisting, turning, and contrasting against each other. This ensures the album is interesting the whole way through with new ideas popping up.\r\n\r\nThe lead single from the album, <em>Out like a lion,</em> is a main highlight to the album. The minimalist lo fi folk sounds paired with a sombre whimsical vocal creates a beautiful experience! The follow up single <em>City of gold</em>, is a short and sweet spacey experience in the vein of Porcupine Tree. Going for just over a minute the song packs depth and atmosphere transporting you out somewhere far away! <em>Girl with the crystal tears</em> is another standout to the album. Mixing an experimental industrial soundtrack with a Beck-esq indie narrative the track works as an offbeat indie tune that it quite unconventional but really cool!\r\n\r\nIn addition there is some experimental prog rock tunes with the DIY sounding opener Plum Creek, and the spacey Hidden valleys of tomorrow. There are also some rocking tunes such as the off beat indie pop tune Sunny side of the street, and the gritty and raw Cortez the cuddler.\r\n\r\nThis is a very brave release with a large range of ideas crammed into one album, however it is pulled off with dynamic flair. On top of the wierd and wonderful twists and turns is a beautiful journey with vivid soundscapes and a breathtaking spacey atmosphere!\"\r\n\r\n<strong>- <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\">Tomatrax</a></strong>','Brother Earth \"Positive Haywires\" Reviewed at Tomatrax','','inherit','closed','closed','','10849-revision-v1','','','2014-10-03 14:11:24','2014-10-03 06:11:24','',10849,'http://www.hiddenshoal.com/10849-revision-v1/',0,'revision','',0),(10851,1,'2014-10-03 14:17:12','2014-10-03 06:17:12','<p style=\"text-align: justify;\">\"A precise, singular term to describe Positive Haywires would be the title itself. <span id=\"more-2170\"></span></p>\r\n<p style=\"text-align: justify;\">You could call it an album or a collection of songs, but both would be suitable titles for this 16 track, spaced out, drug pit. Positive Haywires’ focuses on being ludicrous and twisted from the word go. It’s uncomfortable and somewhat frightening, with corrupted rhythms, dismantled from possibly piano tones or guitar tones on opener Plum Creek, setting the tone for this creepily addictive LP.</p>\r\n<p style=\"text-align: justify;\">The weirdness crosses and grows on following track Out Like a Lion, as Steve Five’s loose whispers digress into the darker depths of Haywires.  With half of Positive Haywires struggling to find the two minute mark, these short musings transpire into chaotic, terrifying, alternate realities constantly; felt only on a bad acid trip.</p>\r\n<p style=\"text-align: justify;\">Psychedelia is the primal grounding for most of Haywires; constructed to either amplify the traditional, upbeat, sun drenched melodies, or be manipulated into become terrifying nightmares with lo-fi infections. On tracks, Cortez the Cuddler, Girl With the Crystal Tears and Claustrophobic Headspace, the terrifying nightmares are a plenty, with Cortez escaping the grasp of psychedelia’s warmth and uniting with the twisted riffs of heavy rock, while Crystal Tears features drone vocal backings and shifty, 90’s horror game ambience, for an odd sense of nostalgia that’s ready to take you back forever.</p>\r\n<p style=\"text-align: justify;\">Claustrophobic Headspace falls somewhere between the above two, starting with an almost slacker rock sound, then progressing to a steady rhythm, before dreary, guitar riffs darken the atmosphere with black smog and isolated breaks of near silence.</p>\r\n<p style=\"text-align: justify;\">On the other side of this creepy LP, lies an escape to the leaking of light that fills your mind with hope and joy. No Purchase Necessary still plays on the weirdness of Haywires, but does so charmingly, with whimsical lyrics on the multiple outputs of modern day earnings, “/make your phone explode with business, you can make money from your own home, we will give you cash for your gold”. It’s only 51 seconds, but it’s 51 seconds of giggles with psychs telling the truth on modern day living.</p>\r\n<p style=\"text-align: justify;\">The familiarity of traditional psych doesn’t just start and end with No Purchase Necessary, it actually begins with Sunny Side of the Street, which is as recognisably psychedelic, as a Pink Floyd. Boasting jiving rhythms and positive lyrics about basically staying positive, Sunny Side brightens up the gloom found spaced out on Haywires.</p>\r\n<p style=\"text-align: justify;\">Finding the positive traditions of psych on the rest of Positive Haywires is somewhat challenging when you focus intently. Blissful opportunities of clarity quickly become sombre, with either jagged piano keys melting together with lifeless psych-waves, or unforgiving guitar riffs. It’s an intriguing ‘attack’ on psych’s normality, and begins to question whether or not psychedelia has become conformed to a set formation, becoming a cognitive piece of the modern musical industry.  Or maybe I’m reading in between the lines.\"</p>\r\n<p style=\"text-align: justify;\"><strong>- <a title=\"Velvet Independent\" href=\"http://velvetindependent.com/2014/09/20/brother-earth-positive-haywires/\" target=\"_blank\">Velvet Independent</a></strong></p>','Brother Earth \"Positive Haywires\" Reviewed at Velvet Independent','','publish','closed','closed','','brother-earth-positive-haywires-reviewed-at-velvet-independent','','','2014-10-03 14:17:12','2014-10-03 06:17:12','',0,'http://www.hiddenshoal.com/?p=10851',0,'post','',0),(10852,1,'2014-10-03 14:17:12','2014-10-03 06:17:12','<p style=\"text-align: justify;\">\"A precise, singular term to describe Positive Haywires would be the title itself. <span id=\"more-2170\"></span></p>\r\n<p style=\"text-align: justify;\">You could call it an album or a collection of songs, but both would be suitable titles for this 16 track, spaced out, drug pit. Positive Haywires’ focuses on being ludicrous and twisted from the word go. It’s uncomfortable and somewhat frightening, with corrupted rhythms, dismantled from possibly piano tones or guitar tones on opener Plum Creek, setting the tone for this creepily addictive LP.</p>\r\n<p style=\"text-align: justify;\">The weirdness crosses and grows on following track Out Like a Lion, as Steve Five’s loose whispers digress into the darker depths of Haywires.  With half of Positive Haywires struggling to find the two minute mark, these short musings transpire into chaotic, terrifying, alternate realities constantly; felt only on a bad acid trip.</p>\r\n<p style=\"text-align: justify;\">Psychedelia is the primal grounding for most of Haywires; constructed to either amplify the traditional, upbeat, sun drenched melodies, or be manipulated into become terrifying nightmares with lo-fi infections. On tracks, Cortez the Cuddler, Girl With the Crystal Tears and Claustrophobic Headspace, the terrifying nightmares are a plenty, with Cortez escaping the grasp of psychedelia’s warmth and uniting with the twisted riffs of heavy rock, while Crystal Tears features drone vocal backings and shifty, 90’s horror game ambience, for an odd sense of nostalgia that’s ready to take you back forever.</p>\r\n<p style=\"text-align: justify;\">Claustrophobic Headspace falls somewhere between the above two, starting with an almost slacker rock sound, then progressing to a steady rhythm, before dreary, guitar riffs darken the atmosphere with black smog and isolated breaks of near silence.</p>\r\n<p style=\"text-align: justify;\">On the other side of this creepy LP, lies an escape to the leaking of light that fills your mind with hope and joy. No Purchase Necessary still plays on the weirdness of Haywires, but does so charmingly, with whimsical lyrics on the multiple outputs of modern day earnings, “/make your phone explode with business, you can make money from your own home, we will give you cash for your gold”. It’s only 51 seconds, but it’s 51 seconds of giggles with psychs telling the truth on modern day living.</p>\r\n<p style=\"text-align: justify;\">The familiarity of traditional psych doesn’t just start and end with No Purchase Necessary, it actually begins with Sunny Side of the Street, which is as recognisably psychedelic, as a Pink Floyd. Boasting jiving rhythms and positive lyrics about basically staying positive, Sunny Side brightens up the gloom found spaced out on Haywires.</p>\r\n<p style=\"text-align: justify;\">Finding the positive traditions of psych on the rest of Positive Haywires is somewhat challenging when you focus intently. Blissful opportunities of clarity quickly become sombre, with either jagged piano keys melting together with lifeless psych-waves, or unforgiving guitar riffs. It’s an intriguing ‘attack’ on psych’s normality, and begins to question whether or not psychedelia has become conformed to a set formation, becoming a cognitive piece of the modern musical industry.  Or maybe I’m reading in between the lines.\"</p>\r\n<p style=\"text-align: justify;\"><strong>- <a title=\"Velvet Independent\" href=\"http://velvetindependent.com/2014/09/20/brother-earth-positive-haywires/\" target=\"_blank\">Velvet Independent</a></strong></p>','Brother Earth \"Positive Haywires\" Reviewed at Velvet Independent','','inherit','closed','closed','','10851-revision-v1','','','2014-10-03 14:17:12','2014-10-03 06:17:12','',10851,'http://www.hiddenshoal.com/10851-revision-v1/',0,'revision','',0),(10853,1,'2014-10-03 14:28:16','2014-10-03 06:28:16','\"American duo Brother Earth is a collaboration between multi-instrumentalist (and producer) Todd Tobias (of Circus Devils, Robert Pollard, Guided by Voices) and vocalist Steve Five (from The Library is on Fire, who recorded with Todd Tobias some years ago. Five and Tobias began collaborating on music videos for Tobias\' band Circus Devils). \"Out Like A Lion\" is taken from their upcoming album, <i>Positive Haywires</i> (due out 16th September, on Hidden Shoal). Oh, yeah, this is cool stuff!\r\n\r\nTagged as \'smoky ambience\' by Hidden Shoal Tobias and Five swirl out a little mystic and exciting piece to tickle our curiosity before the album arrives. \"Out Like A Lion\" is a little song, scary as hell. I - the listener - feel like being a little lamb, eyeballing the big lion circling me while I\'m standing in the middle of the green grass field. I\'m terrified, yet I can\'t wait to see what happens next. Strange feeling. Yes. It\'s intense, spine-chilling, creepy, but, yet I simply <i>have</i> to know what\'s up next... Cool, right? Cool song.\"\r\n\r\n<strong>- <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\">Luna Kafe</a></strong>','Brother Earth \'Out Like a Lion\' Reviewed at Luna Kafe','','publish','closed','closed','','brother-earth-out-like-a-lion-reviewed-at-luna-kafe','','','2014-10-03 14:28:16','2014-10-03 06:28:16','',0,'http://www.hiddenshoal.com/?p=10853',0,'post','',0),(10854,1,'2014-10-03 14:28:16','2014-10-03 06:28:16','\"American duo Brother Earth is a collaboration between multi-instrumentalist (and producer) Todd Tobias (of Circus Devils, Robert Pollard, Guided by Voices) and vocalist Steve Five (from The Library is on Fire, who recorded with Todd Tobias some years ago. Five and Tobias began collaborating on music videos for Tobias\' band Circus Devils). \"Out Like A Lion\" is taken from their upcoming album, <i>Positive Haywires</i> (due out 16th September, on Hidden Shoal). Oh, yeah, this is cool stuff!\r\n\r\nTagged as \'smoky ambience\' by Hidden Shoal Tobias and Five swirl out a little mystic and exciting piece to tickle our curiosity before the album arrives. \"Out Like A Lion\" is a little song, scary as hell. I - the listener - feel like being a little lamb, eyeballing the big lion circling me while I\'m standing in the middle of the green grass field. I\'m terrified, yet I can\'t wait to see what happens next. Strange feeling. Yes. It\'s intense, spine-chilling, creepy, but, yet I simply <i>have</i> to know what\'s up next... Cool, right? Cool song.\"\r\n\r\n<strong>- <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\">Luna Kafe</a></strong>','Brother Earth \'Out Like a Lion\' Reviewed at Luna Kafe','','inherit','closed','closed','','10853-revision-v1','','','2014-10-03 14:28:16','2014-10-03 06:28:16','',10853,'http://www.hiddenshoal.com/10853-revision-v1/',0,'revision','',0),(10855,1,'2014-10-03 14:39:18','2014-10-03 06:39:18','\"Involved is a duo from Planet Earth / Outer Space. Well, the duo formed in late 2012, as an international effort between Joe Dorsey from the USA (Dorsey lives in Murfreesboro, Tennessee, but he hails from Frederick, Maryland) and Reivilo Enoignor hails... from Pyongyang, North Korea!? No, can\'t be so? My guess is Brussels, Belgium, as he (Enoignor, that is) used to be in a band called Battlestations (based in Brussels). Joe Dorsey (formerly of Until Sunrise, and Ocean Architecture) discovered and fell in love with Battlestations\' 2012 album, In A Cold Embrace. So, Joe got in touch with Battlestations, and he sent some of his previous work. Reivilo Enoignor replied, and the Involved project was born. So the story goes. Involved is a true international, internet-based collaboration between Dorsey (on keyboards, guitar, vocals/vocoder, production) and Enoignor (keyboards, electronics, programming/production, vocoder). Inter-Atlantic. Intergalactic.\r\n\r\nInvolved\'s influences vary widely, including Tangerine Dream, Pet Shop Boys, Massive Attack, Cult of Luna, Anathema and (Norwegians) Ulver. Where Enoignor namedrops Kraftwerk, Tangerine Dream, Yellow Magic Orchestra, lots of soundtracks and past masters, Dorsey drops Vangelis, Kraftwerk, Tangerine Dream, Battlestations, Aphex Twin, Massive Attack, and Portishead as well. The twosome finsihed their debut album, Revolving Maze last November (they put out Implant EP, Hidden Shoal, in September 2013), but the album\'s not released until 19th September 2014. The first taster is \"Machiavella\", which is a fascinating piece of music. Dark ambience, a bit on the dramatic side, heavy on the synth. It\'s an atmospheric, cosmic vibe, and the track is sort of semi-scary. Yes, the Tangerine Dream (and/or Vangelis) link is quite clear. I get these teenage flashbacks, when I listened a lot to TD (and Vangelis). Hidden Shoal describe the duo to: \"...fuse the psychedelic sounds of \'70s kosmische with \'80s electronic and more modern ambient styles, creating evocative, cinematic music.\" Which is a good description. A bit on the side; \'Machiavellianism\' means (according to the Oxford English Dictionary): \"...the employment of cunning and duplicity in statecraft or in general conduct\". The words \'cunning\' and \'duplicity\' could both be tagged as keywords when trying to describe Involved\'s musical world. File under \'cool and scary\', \'the sound of sci-fi\', and make sure you check out the pulse of Revolving Maze.\"\r\n\r\n<strong>- <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/smyt221.php\" target=\"_blank\">Luna Kafe</a></strong>','Involved \'Machiavella\' Reviewed at Luna Kafe','','publish','closed','closed','','involved-machiavella-reviewed-at-luna-kafe','','','2014-10-03 14:39:18','2014-10-03 06:39:18','',0,'http://www.hiddenshoal.com/?p=10855',0,'post','',0),(10856,1,'2014-10-03 14:39:18','2014-10-03 06:39:18','\"Involved is a duo from Planet Earth / Outer Space. Well, the duo formed in late 2012, as an international effort between Joe Dorsey from the USA (Dorsey lives in Murfreesboro, Tennessee, but he hails from Frederick, Maryland) and Reivilo Enoignor hails... from Pyongyang, North Korea!? No, can\'t be so? My guess is Brussels, Belgium, as he (Enoignor, that is) used to be in a band called Battlestations (based in Brussels). Joe Dorsey (formerly of Until Sunrise, and Ocean Architecture) discovered and fell in love with Battlestations\' 2012 album, In A Cold Embrace. So, Joe got in touch with Battlestations, and he sent some of his previous work. Reivilo Enoignor replied, and the Involved project was born. So the story goes. Involved is a true international, internet-based collaboration between Dorsey (on keyboards, guitar, vocals/vocoder, production) and Enoignor (keyboards, electronics, programming/production, vocoder). Inter-Atlantic. Intergalactic.\r\n\r\nInvolved\'s influences vary widely, including Tangerine Dream, Pet Shop Boys, Massive Attack, Cult of Luna, Anathema and (Norwegians) Ulver. Where Enoignor namedrops Kraftwerk, Tangerine Dream, Yellow Magic Orchestra, lots of soundtracks and past masters, Dorsey drops Vangelis, Kraftwerk, Tangerine Dream, Battlestations, Aphex Twin, Massive Attack, and Portishead as well. The twosome finsihed their debut album, Revolving Maze last November (they put out Implant EP, Hidden Shoal, in September 2013), but the album\'s not released until 19th September 2014. The first taster is \"Machiavella\", which is a fascinating piece of music. Dark ambience, a bit on the dramatic side, heavy on the synth. It\'s an atmospheric, cosmic vibe, and the track is sort of semi-scary. Yes, the Tangerine Dream (and/or Vangelis) link is quite clear. I get these teenage flashbacks, when I listened a lot to TD (and Vangelis). Hidden Shoal describe the duo to: \"...fuse the psychedelic sounds of \'70s kosmische with \'80s electronic and more modern ambient styles, creating evocative, cinematic music.\" Which is a good description. A bit on the side; \'Machiavellianism\' means (according to the Oxford English Dictionary): \"...the employment of cunning and duplicity in statecraft or in general conduct\". The words \'cunning\' and \'duplicity\' could both be tagged as keywords when trying to describe Involved\'s musical world. File under \'cool and scary\', \'the sound of sci-fi\', and make sure you check out the pulse of Revolving Maze.\"\r\n\r\n<strong>- <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/smyt221.php\" target=\"_blank\">Luna Kafe</a></strong>','Involved \'Machiavella\' Reviewed at Luna Kafe','','inherit','closed','closed','','10855-revision-v1','','','2014-10-03 14:39:18','2014-10-03 06:39:18','',10855,'http://www.hiddenshoal.com/10855-revision-v1/',0,'revision','',0),(10857,1,'2014-10-03 15:01:39','2014-10-03 07:01:39','<img class=\"alignleft size-medium wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"300\" height=\"188\" />We\'ve just had some fantastic reviews land for <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>\'s sublime new album <em>Positive Haywires</em>. <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\">Tomatrax </a>and <a title=\"Velvet Independent\" href=\"http://velvetindependent.com/2014/09/20/brother-earth-positive-haywires/\" target=\"_blank\">Velvet Independent</a> have both weighed in on the albums goodness and <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\">Luna Kafe</a> recently loved up the single \'Out Like a Lion\'. Here\'s a taste,\r\n\r\n<em>\"This is a very brave release with a large range of ideas crammed into one album, however it is pulled off with dynamic flair. On top of the wierd and wonderful twists and turns is a beautiful journey with vivid soundscapes and a breathtaking spacey atmosphere!\"</em> - <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\"><strong>Tomatrax</strong></a>\r\n\r\n<em>\" I - the listener - feel like a little lamb, eyeballing the big lion circling me while I\'m standing in the middle of the green grass field. I\'m terrified, yet I can\'t wait to see what happens next. Strange feeling. Yes. It\'s intense, spine-chilling, creepy, but, yet I simply have to know what\'s up next... Cool, right? Cool song\"</em> - <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\"><strong>Luna Kafe</strong></a>\r\n\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://brotherearth.bandcamp.com/album/positive-haywires\" target=\"_blank\">Brother Earth\'s Bandcamp</a> and get yourself a copy of this wild and wonderful album.\r\n<span> </span>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&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>','Glowing Brother Earth Reviews','','publish','closed','closed','','glowing-brother-earth-reviews','','','2016-02-03 13:51:36','2016-02-03 05:51:36','',0,'http://www.hiddenshoal.com/?p=10857',0,'post','',0),(10858,1,'2014-10-03 14:56:47','2014-10-03 06:56:47','<img class=\"alignleft size-medium wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"300\" height=\"188\" />We\'ve just had some fantastic reviews land for <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>\'s sublime new album <em>Positive Haywires</em>. <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\">Tomatrax </a>and <a title=\"Velvet Independent\" href=\"http://velvetindependent.com/2014/09/20/brother-earth-positive-haywires/\" target=\"_blank\">Velvet Independent</a> have both weighed in on the albums goodness and <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\">Luna Kafe</a> recently loved up the single \'Out Like a Lion\'. Here\'s a taste,\r\n\r\n<em>\"This is a very brave release with a large range of ideas crammed into one album, however it is pulled off with dynamic flair. On top of the wierd and wonderful twists and turns is a beautiful journey with vivid soundscapes and a breathtaking spacey atmosphere!\"</em> - <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\"><strong>Tomatrax</strong></a>\r\n\r\n<em>\" I - the listener - feel like a little lamb, eyeballing the big lion circling me while I\'m standing in the middle of the green grass field. I\'m terrified, yet I can\'t wait to see what happens next. Strange feeling. Yes. It\'s intense, spine-chilling, creepy, but, yet I simply have to know what\'s up next... Cool, right? Cool song\"</em> - <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\"><strong>Luna Kafe</strong></a>\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://brotherearth.bandcamp.com/album/positive-haywires\" target=\"_blank\">Brother Earth\'s Bandcamp</a> and get yourself a copy of this wild and wonderful album.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&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>','Glowing Brother Earth Reviews','','inherit','closed','closed','','10857-revision-v1','','','2014-10-03 14:56:47','2014-10-03 06:56:47','',10857,'http://www.hiddenshoal.com/10857-revision-v1/',0,'revision','',0),(10859,1,'2014-10-03 15:01:30','2014-10-03 07:01:30','<img class=\"alignleft size-medium wp-image-9250\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Brother-Earth-Bio-Shot1-300x188.jpg\" alt=\"Brother Earth\" width=\"300\" height=\"188\" />We\'ve just had some fantastic reviews land for <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>\'s sublime new album <em>Positive Haywires</em>. <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\">Tomatrax </a>and <a title=\"Velvet Independent\" href=\"http://velvetindependent.com/2014/09/20/brother-earth-positive-haywires/\" target=\"_blank\">Velvet Independent</a> have both weighed in on the albums goodness and <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\">Luna Kafe</a> recently loved up the single \'Out Like a Lion\'. Here\'s a taste,\r\n\r\n<em>\"This is a very brave release with a large range of ideas crammed into one album, however it is pulled off with dynamic flair. On top of the wierd and wonderful twists and turns is a beautiful journey with vivid soundscapes and a breathtaking spacey atmosphere!\"</em> - <a title=\"Tomatrax\" href=\"http://tomatrax.wordpress.com/2014/09/19/cd-review-brother-earth-positive-haywires/\" target=\"_blank\"><strong>Tomatrax</strong></a>\r\n\r\n<em>\" I - the listener - feel like a little lamb, eyeballing the big lion circling me while I\'m standing in the middle of the green grass field. I\'m terrified, yet I can\'t wait to see what happens next. Strange feeling. Yes. It\'s intense, spine-chilling, creepy, but, yet I simply have to know what\'s up next... Cool, right? Cool song\"</em> - <a title=\"Luna Kafe\" href=\"http://www.lunakafe.com/moon221/usny221b.php\" target=\"_blank\"><strong>Luna Kafe</strong></a>\r\n\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://brotherearth.bandcamp.com/album/positive-haywires\" target=\"_blank\">Brother Earth\'s Bandcamp</a> and get yourself a copy of this wild and wonderful album.\r\n<span> </span>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/160808880&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>','Glowing Brother Earth Reviews','','inherit','closed','closed','','10857-revision-v1','','','2014-10-03 15:01:30','2014-10-03 07:01:30','',10857,'http://www.hiddenshoal.com/10857-revision-v1/',0,'revision','',0),(10860,1,'2014-10-03 15:31:49','2014-10-03 07:31:49','<img class=\"alignleft wp-image-9141 \" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Drew-Sullivan-2014-300x300.jpg\" alt=\"Slow Dancing Society\" width=\"204\" height=\"204\" /><a title=\"Slow Dancing Society\" href=\"http://www.hiddenshoal.com/project/slow-dancing-society/\">Slow Dancing Society</a> is the moniker of ambient composer and sonic wunderkind Drew Sullivan, who’s responsible for some of the most ethereal and compelling pieces in Hidden Shoal’s catalogue. Through six albums over eight years, the evocative textures in Sullivan’s body of work play out like soundtracks to movies that don’t exist. From the nostalgic crescendos of <em><a title=\"Priest Lake Circa \'88\" href=\"https://slowdancingsociety.bandcamp.com/album/priest-lake-circa-88\" target=\"_blank\">Priest Lake Circa ‘88</a></em> to the Eno-meets-Vangelis minimalism of his latest record <a title=\"The Cogent Sea\" href=\"https://slowdancingsociety.bandcamp.com/album/the-cogent-sea\" target=\"_blank\"><em>The Cogent Sea</em></a>, Sullivan is a master of manipulating mood and emotion through sound. In this new feature on Hidden Shoal, our own Matthew Tomich spoke with Sullivan about his favourite film soundtracks.\r\n\r\n&nbsp;\r\n<h4><b><i>Edward Scissorhands</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> In chronological order that’d be the best one, because that was probably my first introduction to really enjoying score music for films. I was always into movies at a young age so I always felt like I was aware of what was going on musically. Because when you’re six, seven or eight, you’ve got your favourite movies, and I kind of tended to watch a lot of adult movies. My dad would watch them with me and I attribute a lot of my love for things of the ’80s to my dad. And my mom – she played a lot of ’80s music for me. I’m 34, so in 1984 I was 4 years old, so a lot of the movies of that time that I really like I should not have ever seen. So dad watching them with me and always saying, “Oh, that doesn’t really happen that way” – it was funny, I had a really good sense of what was real at a young age.\r\n\r\nBut back to that movie – Danny Elfman I think had a kind of – and still does – a very unique style. He’s kind of ran his course; it’s always the same sound now, but it was this very phantasmic, fairytale sort of sound, and I think I attribute a lot of my ideas for melodies and usage of certain sounds like choirs and those kinds of vocal overtones and bells from him and from that soundtrack. I still love that soundtrack. It’s funny, I had it on tape of course at the time, and they always say you wear it out, but I truly did wear that tape out. But it made me think that if you ever listen to a brand new cassette tape, it doesn’t sound like a warbly tape like all these new plugins make your old vintage music sound like. And I think the reason why people want that tape sound is that if you have an album or favourite music you wore the hell out of, it started to warble, and the tape started to disintegrate, and that’s why we have that sound. It’s almost more about the memory of a sound than the actual quality because tape was a quality device back then. But I loved that soundtrack, I still listen to it today.\r\n\r\n<iframe src=\"//www.youtube.com/embed/M94yyfWy-KI?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>When you’ve listened to a soundtrack so much, are you almost listening to it first than watching it – rather than waiting for a scene, you’re waiting for a refrain or a melody?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. It’s funny – I’m kind of like that with a lot of movies, even modern ones where I know the score really well. I tend to go watch a movie because of the composer, and I’ve been turned on to a lot of movies because of composers that I probably wouldn’t have normally chosen to see. So I tend to be anticipating that next cue in the movie, and it’s a weird way of watching a movie. I don’t think a lot of people probably view movies that way. A lot of composers will say, “If you don’t recognise that my music is playing in the background then I’ve done a good job because I’ve just made that a seamless moment where the music has underscored the scene.”\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>One thing I noticed with that and with a lot of Danny Elfman soundtracks I’ve heard is the sense of a dark, carnivalesque sound to it – it’s playful, but there’s that eerie undertone.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And it really fits Burton’s vision really well. You see a lot of composers – and we’ll talk a little later about Cliff Martinez, he and Steven Soderbergh have worked so many times together – and I think there are certain directors that just really mesh and the sound of someone’s music just works with their vision. I just watched <i>Beetlejuice</i> last night, it was on TV, and again it’s that quintessential Danny Elfman sound – it’s a very playful but dark sound. He did a score for a movie called <i>Nightbreed</i> which really flew under the radar, and that’s a really good score that no one really talks about. It’s very tribal. The movie is about this tribe of monsters that live underneath a graveyard, which sounds really stupid when you say it, but it’s a Clive Barker story and it’s really good. But his score in that is very good, very nice. Not as playful – it’s much more the darker style.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Listening to <i>Edward Scissorshands</i> and then listening to your stuff afterwards, I was expecting to hear some of those influences, but it wasn’t really coming through, because your music is a lot more contemplative, serious, and for a lack of a better expression, highbrow. Is <i>Nightbreed</i> closer to the tone that you go for or closer to what you take from Elfman’s music?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> You know, I was laughing to myself the other day about this, where I have all these influences that I state all the time, and a lot of times they won’t shine through in what I do. One of my favourite albums that I was really passionate about was the <i>Priest Lake Circa ‘88</i> album and I tell everyone that that was my attempt at making a hair metal album. Probably three quarters of the album was original material that I had sent to Cam Merton [at Hidden Shoal] and he was like, “No way is this going to work.” So when I look back on it, it was a pretty ambitious move to make such an album. So what I did was the typical re-editing and mixing and washing it in reverb and delay and it turned out to be way better than what I initially went out for. It was a perfect thing to happen because when I listen to that album now, I can totally hear hair metal music in it for me, because there’s all sorts of soaring guitars in there that were delayed and reverbed as I’d said, but it takes on the way we remember music as opposed to the way the music actually sounded.\r\n\r\nIt was kind of like <i>Priest Lake</i> was supposed to be a memory of a time in my life. And it’s going to be like all memories – it’s going to be fuzzy around the edges, a lot of it’s going to be probably wrong from the way it actually happened, and everyone’s interpretation’s going to be a little different. Because when I still listen to hair metal music today, it brings me back to those moments of my childhood, but it doesn’t quite sound as grand and as luxurious or epic to me as it did then. And that’s understandable, but I think that’s what I try to do with most of my influences – take the way they made me feel – and that’s probably where the contemplative tone comes through. You’re longing for those days of when life was just a little bit easier and there were no diapers.\r\n\r\n&nbsp;\r\n<h4><b><i>Stay</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That’s a good example of how I say that I found out about the movie through the people that did the score. The guys that did that – Ashe and Spencer – they’re kind of a unique scoring company because there are like 8 to 15 people for that company. Ashe and Spencer are the two main original guys, but they have these revolving musicians that come through and do stuff for them. It’s a very co-op sort of vibe. They did a movie called <i>Monsters Ball</i> with Heath Ledger and Billy Bob Thornton, and that was a great movie and I really liked that score, and because I saw on IMDb that they were scoring <i>Stay</i>, I went to go watch it one night and that movie turned out to be just an incredibly visually stunning movie, and their music was so perfect for it. The way in which each scene melded into the next scene was like – there’d be a scene where they’re driving by the Brooklyn Bridge and one of the main – I guess I’d say tower portions of that bridge – melded into the next scene, which was a chess board with a Brooklyn-themed chess piece. And it wasn’t cheesy; it was really well done CGI. So the movie is a very dream state movie that I won’t spoil it because the ending is necessary to understand the whole vibe of the movie, but those guys on that movie, their score was so good.\r\n\r\nThat score was in 2004 and that was right around when I was working on <i>The Sound of Lights When Dim</i>, and so I didn’t really have the wherewithal or I guess the experience to really know how to manipulate sound as well as I’ve gotten to the point now over the experience of time, but they had a behind-the-scenes featurette on that score which is on the DVD about how they did the music, and it was really impressive and amazing how they made a lot of their sounds. Very organic, lack of plug-ins. One particular thing that stuck with me is they took a piano and recorded every single note through an old tape machine, and one of the tape heads was rotten and broken, and they would actually touch the tape throughout each piece. And so then they had every key of the piano recorded, and then they would map those audio files to a MIDI keyboard. Then they played it through a plug-in of sorts or a sampler, but each key would have a very unique characteristic when you’d play a chord, and I guess the piano was kind of – it wasn’t even like a warble, it was just this very otherworldly sounding piano, and it’s just amazing.\r\n\r\n<iframe src=\"//www.youtube.com/embed/KIk5rfA5uWE?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>That one more so than the Elfman soundtrack, I could hear a lot more of that in your music. And I like how it had that scrape of metal synthetic sound to it. You mentioned the organic approach they took – is that something you try to do a lot of?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. I don’t have as much of an ability to do field recordings or record pianos that way, so I probably tend to do it a lot longer – or at least my workaround, for lack of a better word – is a lot longer than it probably needs to be, because I don’t have a piano. I have a VST of a piano so I’ll take notes and kind of record those notes and mangle it a little with plugins that I have, and then put it back into the track. So I may have 15 individual tracks to make one piano chord just to try to make that sound. So it’s a lot harder workaround, but I don’t have the tape machine or the microphones to do that.\r\n\r\n&nbsp;\r\n<h4><b><i>Traffic</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That came out a couple of years before <i>Stay</i> but I remember seeing that movie – because it was a pretty big, popular movie at the time – and I remember the very end of the movie, it wasn’t even a Cliff Martinez song, it was ‘An Ending (Ascent)’ by Brian Eno. And that was probably the first time I’d ever heard that song, actually, which is funny, because everyone always assumes as an ambient artist that Eno is a big influence, and I didn’t discover him until very, very late into my musical ambitions. And he still is, but that song is just one of those perfect songs where the melody and the chord progression is amazing. It’s very simple. I mean really, there’s one instrument – I’m sure there are probably a couple of different tracks and layers, but it’s really just one synthesizer. There’s not a lot of layers and I tend to be excessive in layering of music – you know, the whole less is more – but that song is perfect. So that really got me to pay attention to the score and go back and hear it. That was what began my love affair with Cliff Martinez, is that score.\r\n\r\n<iframe src=\"//www.youtube.com/embed/qNgvVVjgK68?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS:</b></span> Interesting you mentioned Eno and that minimalistic take, because he composed the Windows 95 start-up sound. He often worked on that microscopic level where you’re dealing with fractions of a second. You said that you work on the opposite to the less is more scale, but do you ever get that meticulous?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Well yeah, because what I’ve found with a lot of my favourite musicians that aren’t influences – just music I like to listen to – is that the more and more, you can always pick up something from a rock band or even a house track in the way it’s produced and the way the sounds work together – that timbre, so to speak, of the instruments. And I find that a lot of times, these sounds that we think we’re hearing as another layer is not so much another layer of music but actually the two tones of each individual instrument playing together, and even that sort of silence in between those instruments serves as an instrument in and of itself; it kind of fills in those gaps. So I try to really approach those minimalistic things and really get back to it. Once it gets too busy, it’s just that – there’s too much going on; you can’t really focus on just the decay of a certain sound. And then at that point when you’ve got too much going on, it’s going to get muddy, everything’s going to start fighting for its own place in the mix, and you’ve just got a discombobulated sound. A good example on that <i>Stay </i>soundtrack is there are a lot of portions in that music where the piano note will just ring and then that note will decay and reverse and pull it back and pan it left. It’s taking one single sound and really abusing, so to speak, the nature of that one sound.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>In terms of how soundtracks and composers work – do you ever try and go less for, “I want this to sound like this,” but more, “I want this to make someone feel this way,” in a way that a composer would go for “here’s my visual accompaniment, here’s the feeling that we’re going for.” Do you find an equivalent to that approach?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. I did a score for an independent film. It was called <i>The Key</i>. I got introduced to this guy by a friend of mine when I was living in Los Angeles and I’m not even sure where you can find it online. I’m sure you could YouTube it, it’s just called <i>The Key</i>, and it’s even on IMDb if you were to search through my name because I am tagged to that movie. So that was a fun experience where the director was sort of new, so there wasn’t really a big vision of what he wanted, which was helpful because I think that would be difficult to have to try to make a sound or a moment based on what you’re watching. Because in that experience, when he gave me the footage, it’s a very odd thing to watch a movie with no sound and no music. You feel very on the spot to create something that works with that, and I think that’s the beauty about a lot of scores – when you watch a movie and you hear the sound, you’re like, wow, I never would’ve thought of that sound in that moment but it works so beautifully. And I’m sure there was a lot of trial and error with that director and that composer to make that happen, and maybe it might have just been a magic moment.\r\n\r\nFor myself, because I don’t have that experience of working with directors – not yet, hopefully I will in the future – I probably always sit down when I write music trying to evoke a mood. It never feels forced. I think I would probably tend to kind of float in that melancholy, contemplative state as you said at the beginning of our conversation, but a lot of it kind of just develops over time. It’s funny because I’m not a generally contemplative person – of course I think we all kind of long for those days – but it’s almost a catharsis when you do music, when you do sad music or music that sounds contemplative, you’d think you have to be in the kind of doldrums to do it, but really, it’s that expression of it that I think by the time you’re done with it, you don’t really have that burden anymore. I guess I kind of sit down trying to evoke a mood, and very rarely do I ever say I want it to be this way – that I want it to be sad or I want it to be happy – because with anything artistic, you can’t just sit down and do something. It’s usually got to be when inspiration strikes or when you get a certain kind of sound in your mind that you want to go record. And depending upon how you feel that particular day, what occurred, you may have a completely different direction of how the song develops.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>You mentioned before on <i>Priest Lake Circa ’88</i> you were working from a memory and a feeling for a particular time – I guess in a way that is almost like working to a soundtrack, you’ve got a distinct idea of a particular emotion you’re trying to evoke. Has that been something you’ve used as a jumping point for your other albums?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> No actually, it’s funny. So for a timeline: <i>The Sound of Lights When Dim</i> was what all artists say: I had my whole life to write that album. That was a collection of songs that had probably been bubbling for years. Then <i>The Slow and Steady Winter</i> and <i>Priest Lake Circa ’88</i> – those two albums together were actually the album that I sent to Cam as my second that he said no way on because it’s the full-on ’80s hair metal. And so those albums are what I reworked into what they are now. <i>Slow and Steady Winter</i> was actually re-edited over the winter, and I think because of that, that album has a very sombre vibe to it, and I would definitely say that because of being told no, so to speak, that kind of sent me into this sort of – not depressive state, but like, “OK, now what?” I’m in this nuclear winter in Washington when nothing happens, so that album is what took on a lot of that icy, reverbed, lengthy sound. <i>Priest Lake Circa ’88</i> – those tracks were still ones that I couldn’t quite make as cold sounding, so they still had that very warm, I’d say summery kind of rock vibe, and as I slowly came out of that winter, that vision really held tight and I just worked on it.\r\n\r\nBut albums nowadays – I’ve noticed the last three albums, I never really have a vision. It’s always one track is what gets created first, and the whole rest of the album kind of centres around that track. Which in a way is kind of a funny – or an ironic statement – because I’ve heard a lot of composers say, when they start working with a director, the director will have scenes for them to view and there’ll be temp music – songs that they’ve used from another film, or they’ll say “I’m looking for something like this” – and then they create this one track where the director says, “That’s it, that’s the sound,” and everything revolves around that. In most soundtracks there’s a common theme or a cue or a certain melody that is built upon or deconstructed, so that’s probably how a lot of my last three albums have worked. And the last three albums have really been a much more dive-into, score-like music, so I guess that’s an ironic twist of fate to how I approach it now. Nowadays there’s one song that tends to be the ground zero and everything else builds around it.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>What was that ground zero song on <i>The Cogent Sea?</i>\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> That was probably ‘Coming Back,’ the fourth track on the album. That was the big one for me. That one really kind of started it, because there’s a sort of just a staccato guitar chime in the beginning, and then the subtle melody notes over it, and that pulsing arpeggio bass in there. And that’s really what kind of sparked the rest of that vintage ’80s sound – it kind of has an almost sort-of cop drama ’80s sound to it, you know, with that menacing bass that typically underscores a very intense moment when they’re looking at a file. I think, again, a lot of those influences come to me from those ’80s films and sounds, but I didn’t want it to be super-sharp staccato bass like in ’80s movies; I rounded it off with a bit of a filter to give it more of that modern, textural quality.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span></b> I was surprised listening to <i>The Cogent Sea</i> that you didn’t pick something composed by Vangelis because I hear a lot of that aesthetic in it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The song ‘O Captain! My Captain!’ with that big, thick synth – that was really prevalent on a lot of the <i>Blade Runner</i> stuff that he did. That soundtrack was probably a pretty big soundtrack over the last two albums in a tone and in structure – because if you look at a lot of my older albums, there isn’t a lot of synth work. There’s a lot more guitars being manipulated, whereas the last two albums, I really started to dive much more into synths that you wouldn’t hear on a lot of those previous albums. For me, I always loved very warm, organic sounds, and I think there’s a sort of giving up that prejudice of synthetic sounds. Which is funny because I love synthpop music, but I never wanted to see that in my music for some reason, but then there was just this kind of turning point for me during the making of <i>Laterna Magica</i> where I started to use very quintessential chime sounds that were from an old Jupiter, and I love those tones now. I’ve started to use them a lot more, and that’s why I think you’ll see a lot more synth work on this new album than anything before.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>Are you working on any new material now?\r\n\r\n<b>DS:</b> Right now Jarrod from <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a> – which is another band I’m in with Thomas – we’re working on the new album for City of Satellites, and Jarrod and I also have a side project called The October Solution and we’re working on that new album, so there probably won’t be a new album from Slow Dancing Society for at least a good year or two. It could be sooner – you know, it’s funny, a lot of times these albums, like I said a moment ago, when you get that one track that’s the ground zero, the rest just falls into place. There’s always that moment of panic when I’m working on tracks and nothing’s coming together, there’s no vision and I’m like, I don’t know when a new album’s going to be ready. But then all of a sudden one track happens and it just explodes. But I do have an EP that was kind of some outtakes of sorts from <i>The Cogent Sea</i> that just didn’t really seem to fit the overall vibe of that album, and by themselves they’re a much more cohesive unit. There are about six tracks which will probably be released late summer, early fall, maybe winter at the latest. The songs are all done, there’s just the matter of a release time with Hidden Shoal.\r\n\r\n&nbsp;\r\n<h4><b><i>Michael Clayton</i></b></h4>\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b> </span>That’s a great score. That was probably more score-like than the other ones. <i>Traffic</i> was very guitar-based with synthesizer tones and washy sounds. Same with <i>Stay</i>, that’s very much more piano-based with some guitar tracks in there. Whereas <i>Michael Clayton</i> – that’s quintessential percussion, those very filtered deep rumbling bass loops and percussive notes and beds. I saw that movie again too because of James Newton Howard, and I’ve seen a lot of his stuff and I like his big, grand-sounding scores. But that score is really one of those very minimal scores again – there aren’t a lot of big orchestral moments. It’s very otherworldly and it’s got that tension of sorts that I tend to like and that I’m leaning more towards. Because I’d say <a title=\"Laterna Magica\" href=\"https://slowdancingsociety.bandcamp.com/album/laterna-magica\" target=\"_blank\"><i>Laterna Magica </i></a>was probably a turning point in Slow Dancing Society’s overall sound where it got a little darker and not as ethereal, so that score was really a big influence for that, that idea of tension and a thriller type of vibe.\r\n<iframe src=\"//www.youtube.com/embed/MGZTrE070tk?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>There’s a great sense of urgency and it’s almost hard to listen to it without feeling a little uneasy. It’s hard to listen to it separately, whereas something like Danny Elfman, you can listen to it separately and enjoy it.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Absolutely. And I love that score. And again, I think the thing too is that a lot of these scores where you mentioned earlier you don’t see it shining through in my music, what I tend to take from music is less about the particular artists and their sounds or style, but the way in which certain sounds sound. If you listen to that James Newton Howard score, the way in which the drums sound very almost watery and filtery, there’s a certain texture to them and I really like that sound, so I try to implement those kind of sounds into say, a song on <i>The Cogent Sea</i> like ‘Reach Out,’ which is really just an 808 machine, but I try to make those drums sound similar to the way they sounded on that score, so there’s no urgency or unease in that sound at all, but the sound in the way in which those sonics were, that’s kind of what I go for a lot of times.\r\n\r\n&nbsp;\r\n<h4><strong><i>Into </i><i>Forever </i></strong></h4>\r\nThis is not a film soundtrack as such but it feels like the soundtrack to something. <em>Into Forever</em> is the work of Manual (aka <a title=\"Jonas Munk\" href=\"https://www.facebook.com/pages/Jonas-Munk/189165807772795\" target=\"_blank\">Jonas Munk</a>) and Icebreaker International and is one of Munk\'s most underrated and hidden albums. If you read the liner notes it talks about – and this is totally a fake story, but it’s such a cool story the way they did this as a marketing ploy – is that there’s some sort of science academy in some far Eastern European country that funded the making of this album, and the album will be played on an infinite loop on this satellite that they’re going to launch into space with the hopes that the sound will travel for eternity into space, that any planetary being that reaches these sounds will hear them. And it was a very cool idea. If you look at the song titles there’s ‘The Countdown,’ so that’s the launching of the satellite, and then there’s ‘The Outer Rings’ and ‘The Inner Rings,’ so it’s like the journey of this satellite travelling through space and it’s a gorgeous, gorgeous album.\r\n\r\nPeople say it’s like space rock and it’s got a definite feel that you’re suspended in space listening to that album. Probably even more so in my opinion than ‘An Ending (Ascent)’ from Brian Eno which came from the <i>Apollo </i>soundtrack and the score to that movie about the Apollo space mission. Because that album with Eno was a little bit more – and it’s probably subject to the time and the sounds that were available – it has a little bit more of, I want to say cheese factor, but some songs just don’t seem to work as well for what’s going on, whereas <i>Into Forever</i>, you can put that on and just completely drift away into another world. It’s an amazing album.\r\n\r\n&nbsp;\r\n<iframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3013674606/size=large/bgcol=333333/linkcol=ffffff/tracklist=false/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://manual.bandcamp.com/album/into-forever\">Into Forever by Icebreaker International &amp; Manual</a></iframe>\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>Do you try to work in that narrative sense when you’re sequencing tracks?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> The thing that’s funny about that is you would think that the ground zero could either be the alpha or the omega – the beginning of the album or the end of the album, like the finale, or even the arc of the story. But really, it builds less in a narrative sense for me. Sometimes it will build in a narrative sense, I’ll really kind of try to create a story, but the way in which songs flow together is almost more happenstance where, let’s say when working on ‘Coming Back,’ there might be four or five individual tracks within that song that didn’t quite make the final edit, but there’s still something very textural about them that I liked, so those will develop into another song, and because of the way in which they sounded was within the same kind of cadence or even the key of a song like ‘Coming Back,’ that would make it very easy to be the song before or after that on the album.\r\n\r\nOne trick of the trade for me is I put all my songs once they’re done onto shuffle on my iPod. <i>The Cogent Sea </i>– the funny thing is, the actual tracklisting or order was from a total happenstance randomization on my iPod. It just worked. I listened to probably 30 incarnations of that. First I try to put them together myself, as in, “Here’s how I think they should sound.” Sometimes it feels forced, sometimes there’s a bit of a jump here or there or something doesn’t feel right, but this one lucky afternoon, that album order it played was perfect. So somewhere deep in the macro algorithm of an iPod is how that happened.\r\n\r\n&nbsp;\r\n\r\n<b><span style=\"color: #c0c0c0;\">HS:</span> </b>What’s the overall feeling or memory that you’re trying to translate or communicate with <i>The Cogent Sea</i>?\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> I think <i>The Cogent Sea</i> probably for me is the culmination of all styles of music that I loved as a kid and an adult. I have a pretty wide range of musical tastes. And I always dislike when people say “I have an eclectic taste in music” because I think that’s just kind of a little, trying to sound –\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #c0c0c0;\"><b>HS: </b></span>It’s lazy.\r\n\r\n<span style=\"color: #c0c0c0;\"><b>DS:</b></span> Yeah. There’s nothing wrong with saying that you like this style of music and only that. There’s nothing wrong with that at all, but I think people feel that they need to like a lot of different music. For me it’s less about liking all styles of music and more I love sounds and textures and how they work together.\r\n\r\nOne sound in particular is country music. I can’t stand country singers, but I absolutely love the sound of Fender Telecasters which are a very common guitar used in country music, and Rhodes pianos and steel guitars or pedal steels. I love the sounds of those textures so I like some country music in that sense. But I think with <i>The Cogent Sea</i>, I was trying to make an album – and not even trying, it was really just what came out, actually – of music that I just love and listen to.\r\n\r\nI think nowadays, if you look at the last three albums from the first albums, I always feel that an artist’s first couple of albums are them trying to find a place and fit in somewhere. And obviously at the time they’re very much into the music that they’re writing and playing and producing at that time, but it’s always the torturous thing that happens to artists as they get older is that they’re not going to make an album that they did five or ten years ago today.  They might, but it might be forced, and that’s where I feel the progression of what I do now musically has really started to show more so into what I listen to. Back on <i>The Sound of Lights When Dim</i>, all I listened to was IDM or ambient music, whereas nowadays with <i>The Cogent Sea</i> and listening to a song like ‘Reach Out’, you can tell that I was probably listening to a lot more Phil Collins or Erasure at the time, probably because I remember those bands. My mom played a lot of music when I was young, she was always listening to MTV or having it on the TV when I was five or six, so again I owe that to my parents a lot – that exposure to those music and those different styles and scenes.','Sound and Scene with Drew Sullivan of Slow Dancing Society','','inherit','closed','closed','','10836-revision-v1','','','2014-10-03 15:31:49','2014-10-03 07:31:49','',10836,'http://www.hiddenshoal.com/10836-revision-v1/',0,'revision','',0),(10861,1,'2014-10-03 16:12:05','2014-10-03 08:12:05','<p style=\"text-align: justify;\">\"<a href=\"http://www.hiddenshoal.com/project/kryshe/\" target=\"_blank\">Kryshe</a>‘s <strong>In Between</strong> EP has sneaked into my life very recently thanks to <a href=\"http://www.hiddenshoal.com/\" target=\"_blank\">Hidden Shoal</a>‘s main man, Mr. <a href=\"http://igloomag.com/profiles/hidden-shoal-profile\" target=\"_blank\">Cam Merton</a>, who consistently provides a warm home for quality and talent from around the world in order to bring us sonic delicacies from many regions of the far-flung musical spectrum. It sneaked into my life, and very quickly into my heart. The blend of emotional bareness, effortlessness, spaciousness and warm luminosity in the fabrics of <strong>In Between</strong> is irresistible. Kryshe is the solo ambient project of German musician Christian Grothe, who is also a part of the excellent <a href=\"http://igloomag.com/reviews/unland-unland-self-released\" target=\"_blank\">Unland</a> trio which released its wonderful debut album earlier this year. <strong>In Between</strong> is Kryshe’s brand-new 5-track digital EP.</p>\r\nThe EP is built from attractively balanced combinations of live, free-flowing sessions and post-editing. Subtle electronics and manipulation judiciously spice the raw and organic, intensifying the strong emotional core. At times, among the piano streams, guitar work and delicately glitchy electronic designs, you can hear Grothe’s breathing, which intensifies the live intimate sense. The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension. The autumn ghost has already started whispering, and soon we’ll be immersed in winter shades. <strong>In Between</strong> is perfect for those times of the year.\r\n\r\nIn the depths of <strong>In Between</strong>, collaborations between Budd and Eno and Budd and Clive Wright might spring to mind, but one might also think of <a href=\"http://igloomag.com/?s=hammock\" target=\"_blank\">Hammock</a> and even label mate <a href=\"http://igloomag.com/?s=Slow+Dancing+Society\" target=\"_blank\">Slow Dancing Society</a>. With that being said, <strong>In Between</strong> is certainly not some sort of clone. It is an original piece of music that stands own its own. Let’s hope this EP is an appetizer for a forthcoming full-length Kryshe album—I would love to own a physical copy of that.\"\r\n<p style=\"text-align: justify;\"><strong>- <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong></p>','Kryshe \"In Between\" Reviewed at Igloo Magazine','','publish','closed','closed','','kryshe-in-between-reviewed-at-igloo-magazine','','','2014-10-03 16:12:05','2014-10-03 08:12:05','',0,'http://www.hiddenshoal.com/?p=10861',0,'post','',0),(10862,1,'2014-10-03 16:12:05','2014-10-03 08:12:05','<p style=\"text-align: justify;\">\"<a href=\"http://www.hiddenshoal.com/project/kryshe/\" target=\"_blank\">Kryshe</a>‘s <strong>In Between</strong> EP has sneaked into my life very recently thanks to <a href=\"http://www.hiddenshoal.com/\" target=\"_blank\">Hidden Shoal</a>‘s main man, Mr. <a href=\"http://igloomag.com/profiles/hidden-shoal-profile\" target=\"_blank\">Cam Merton</a>, who consistently provides a warm home for quality and talent from around the world in order to bring us sonic delicacies from many regions of the far-flung musical spectrum. It sneaked into my life, and very quickly into my heart. The blend of emotional bareness, effortlessness, spaciousness and warm luminosity in the fabrics of <strong>In Between</strong> is irresistible. Kryshe is the solo ambient project of German musician Christian Grothe, who is also a part of the excellent <a href=\"http://igloomag.com/reviews/unland-unland-self-released\" target=\"_blank\">Unland</a> trio which released its wonderful debut album earlier this year. <strong>In Between</strong> is Kryshe’s brand-new 5-track digital EP.</p>\r\nThe EP is built from attractively balanced combinations of live, free-flowing sessions and post-editing. Subtle electronics and manipulation judiciously spice the raw and organic, intensifying the strong emotional core. At times, among the piano streams, guitar work and delicately glitchy electronic designs, you can hear Grothe’s breathing, which intensifies the live intimate sense. The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension. The autumn ghost has already started whispering, and soon we’ll be immersed in winter shades. <strong>In Between</strong> is perfect for those times of the year.\r\n\r\nIn the depths of <strong>In Between</strong>, collaborations between Budd and Eno and Budd and Clive Wright might spring to mind, but one might also think of <a href=\"http://igloomag.com/?s=hammock\" target=\"_blank\">Hammock</a> and even label mate <a href=\"http://igloomag.com/?s=Slow+Dancing+Society\" target=\"_blank\">Slow Dancing Society</a>. With that being said, <strong>In Between</strong> is certainly not some sort of clone. It is an original piece of music that stands own its own. Let’s hope this EP is an appetizer for a forthcoming full-length Kryshe album—I would love to own a physical copy of that.\"\r\n<p style=\"text-align: justify;\"><strong>- <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong></p>','Kryshe \"In Between\" Reviewed at Igloo Magazine','','inherit','closed','closed','','10861-revision-v1','','','2014-10-03 16:12:05','2014-10-03 08:12:05','',10861,'http://www.hiddenshoal.com/10861-revision-v1/',0,'revision','',0),(10863,1,'2014-10-03 16:21:34','2014-10-03 08:21:34','<img class=\"alignleft  wp-image-10301\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-3-300x199.jpg\" alt=\"Kryshe\" width=\"217\" height=\"144\" /><a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>\'s beautiful new EP <em>In Between</em> has just scooped a fantastic review at the always excellent <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a>. Here\'s a tast of what they had to say,\r\n\r\n<em>\"The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension.\"</em> -<strong> <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong>\r\n\r\nIf you\'ve not yet experienced <em>In Between</em> then you\'re in for a treat. Head to <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">Kryshe\'s Bandcamp</a> to stream and purchase.\r\n<span></span>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165006977&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>','Wonderful Review of Kryshe\'s \"In Between\" at Igloo Magazine','','publish','closed','closed','','wonderful-review-of-kryshes-in-between-at-igloo-magazine','','','2016-02-03 15:48:15','2016-02-03 07:48:15','',0,'http://www.hiddenshoal.com/?p=10863',0,'post','',0),(10864,1,'2014-10-03 16:20:30','2014-10-03 08:20:30','<img class=\"alignleft  wp-image-10301\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-3-300x199.jpg\" alt=\"Kryshe\" width=\"217\" height=\"144\" /><a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>\'s beautiful new EP <em>In Between</em> has just scooped a fantastic review at the always excellent <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a>. Here\'s a tast of what they had to say,\r\n\r\n<em>\"The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension.\"</em> -<strong> <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong>\r\n\r\nIf you\'ve not yet experience <em>In Between</em> then you\'re in for a treat. Head to <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">Kryshe\'s Bandcamp</a> to stream and purchase.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165006977&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>','Wonderful Review of Kryshe\'s \"In Between\" at Igloo Magazine','','inherit','closed','closed','','10863-revision-v1','','','2014-10-03 16:20:30','2014-10-03 08:20:30','',10863,'http://www.hiddenshoal.com/10863-revision-v1/',0,'revision','',0),(10865,1,'2014-10-03 16:20:53','2014-10-03 08:20:53','<img class=\"alignleft  wp-image-10301\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-3-300x199.jpg\" alt=\"Kryshe\" width=\"217\" height=\"144\" /><a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>\'s beautiful new EP <em>In Between</em> has just scooped a fantastic review at the always excellent <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a>. Here\'s a tast of what they had to say,\r\n\r\n<em>\"The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension.\"</em> -<strong> <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong>\r\n\r\nIf you\'ve not yet experience <em>In Between</em> then you\'re in for a treat. Head to <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">Kryshe\'s Bandcamp</a> to stream and purchase.\r\n<span></span>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165006977&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>','Wonderful Review of Kryshe\'s \"In Between\" at Igloo Magazine','','inherit','closed','closed','','10863-revision-v1','','','2014-10-03 16:20:53','2014-10-03 08:20:53','',10863,'http://www.hiddenshoal.com/10863-revision-v1/',0,'revision','',0),(10866,1,'2014-10-03 16:21:47','2014-10-03 08:21:47','<img class=\"alignleft  wp-image-10301\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-3-300x199.jpg\" alt=\"Kryshe\" width=\"217\" height=\"144\" /><a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>\'s beautiful new EP <em>In Between</em> has just scooped a fantastic review at the always excellent <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a>. Here\'s a tast of what they had to say,\r\n\r\n<em>\"The music conjures up nocturnal urban panorama, but at the same time you feel like you’re in the studio with Grothe. He shifts so effortlessly from ethereal and hopeful to melancholic and contemplative, and the other way round, interweaving all into dynamic wholes full of sweet wistfulness and tension.\"</em> -<strong> <a title=\"Igloo Mag\" href=\"http://igloomag.com/reviews/kryshe-in-between-ep-hidden-shoal\" target=\"_blank\">Igloo Magazine</a></strong>\r\n\r\nIf you\'ve not yet experienced <em>In Between</em> then you\'re in for a treat. Head to <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">Kryshe\'s Bandcamp</a> to stream and purchase.\r\n<span></span>\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165006977&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>','Wonderful Review of Kryshe\'s \"In Between\" at Igloo Magazine','','inherit','closed','closed','','10863-revision-v1','','','2014-10-03 16:21:47','2014-10-03 08:21:47','',10863,'http://www.hiddenshoal.com/10863-revision-v1/',0,'revision','',0),(10868,1,'2014-10-03 17:36:12','2014-10-03 09:36:12','[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>Kryshe</h1><p><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"243\" height=\"163\" />Kryshe’s exquisitely subtle and detailed ambient work resonates with chilly grandeur. Across spacious vistas reminiscent of the collaborative work of Eno and Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/kryshemusic\" 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=\"SoundCloud\" href=\"http://www.soundcloud.com/kryshe\" 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://kryshe.com/\" 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>In Between</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 307px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024572785/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://kryshe.bandcamp.com/album/in-between\">In Between by Kryshe</a></iframe><br /> September 2014</p><div> </div><p>As its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.</p><p>Opening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.</p><p> </p><div> </div><div> </div>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Kryshe is the live and studio-based ambient project of German musician Christian Grothe. Grothe’s musical explorations began by writing and recordings guitar-based songs at home, and over time his approach has become more experimental in nature. His current productions often evolve from live improvisation sessions, incorporating sound-manipulation software such as max/msp to develop a richly layered yet spacious sound. Grothe is also a member of the improvisational trio Unland, featuring ambient artist Jonas Meyer and clarinetist Shabnam Pavaresh.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<h3>News</h3>[catlist name=kryshe-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=kryshe-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 link=\"file\" ids=\"10297,10301,10300\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/DcbLFCvLlWY?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe><br /> Kryshe Liveset at Mimis Osnabrück. September 2013</p><p> </p><p><iframe src=\"//www.youtube.com/embed/EfheJsHPZwU?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Kryshe\'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]','Kryshe','','inherit','closed','closed','','10289-revision-v1','','','2014-10-03 17:36:12','2014-10-03 09:36:12','',10289,'http://www.hiddenshoal.com/10289-revision-v1/',0,'revision','',0),(10869,1,'2014-10-06 11:45:30','2014-10-06 03:45:30','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"245\" height=\"245\" />We have a stunning new single and accompanying music video for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\', stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud </a>and check out the music video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=oM7W6d5frbY\" target=\"_blank\">Youtube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/107662975\" target=\"_blank\">Vimeo</a>. read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','New Chloe March Single - Stream + Download + Video','','publish','closed','closed','','new-chloe-march-single-stream-download','','','2016-02-03 13:46:07','2016-02-03 05:46:07','',0,'http://www.hiddenshoal.com/?p=10869',0,'post','',0),(10870,1,'2014-10-06 10:58:58','2014-10-06 02:58:58','','New Chloe March Single','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 10:58:58','2014-10-06 02:58:58','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10871,1,'2014-10-06 11:07:37','2014-10-06 03:07:37','We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by Chloë March.  ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music that lies inside.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\n&nbsp;','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:07:37','2014-10-06 03:07:37','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10872,1,'2014-10-06 11:09:32','2014-10-06 03:09:32','We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by Chloë March.  ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to BandCamp to grab a free download of \'Winter Deep\' and read more about Chloë March here.\r\n\r\n&nbsp;','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:09:32','2014-10-06 03:09:32','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10873,1,'2014-10-06 11:12:11','2014-10-06 03:12:11','<img class=\"alignleft size-medium wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" />We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n&nbsp;','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:12:11','2014-10-06 03:12:11','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10874,1,'2014-10-06 11:15:01','2014-10-06 03:15:01','<img class=\"alignleft size-medium wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"300\" height=\"300\" />We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:15:01','2014-10-06 03:15:01','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10875,1,'2014-10-06 11:16:03','2014-10-06 03:16:03','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"230\" height=\"230\" />We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:16:03','2014-10-06 03:16:03','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10876,1,'2014-10-06 11:22:03','2014-10-06 03:22:03','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"240\" height=\"240\" />We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:22:03','2014-10-06 03:22:03','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10877,1,'2014-10-06 11:23:04','2014-10-06 03:23:04','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"245\" height=\"245\" />We have a stunning new single for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:23:04','2014-10-06 03:23:04','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10878,1,'2014-10-06 11:29:19','2014-10-06 03:29:19','[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>\'Winter Deep\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 208px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3424162730/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/winter-deep\">Winter Deep by Chloë March</a></iframe><br /> October 2014</p><div> </div><p>The first single from the forthcoming re-release of \"Nights Bright Days\". ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace.</p><p>\"Nights Bright Days\" sees re-release through Hidden Shoal on the 4th of November 2014 and will include a bonus digital EP with six previously un-released tracks.</p><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 & 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','','','2014-10-06 11:29:19','2014-10-06 03:29:19','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10879,1,'2014-10-06 11:31:37','2014-10-06 03:31:37','[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>\'Winter Deep\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 150px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3424162730/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/winter-deep\">Winter Deep by Chloë March</a></iframe><br /> October 2014</p><div> </div><p>The first single from the forthcoming re-release of \"Nights Bright Days\". ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace.</p><p>\"Nights Bright Days\" sees re-release through Hidden Shoal on the 4th of November 2014 and will include a bonus digital EP with six previously un-released tracks.</p><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 & 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','','','2014-10-06 11:31:37','2014-10-06 03:31:37','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10880,1,'2014-10-06 11:36:55','2014-10-06 03:36:55','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"245\" height=\"245\" />We have a stunning new single and accompanying music video for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\' and check out the music video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=oM7W6d5frbY\" target=\"_blank\">Youtube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/107662975\" target=\"_blank\">Vimeo</a>. read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:36:55','2014-10-06 03:36:55','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10881,1,'2014-10-06 11:38:18','2014-10-06 03:38:18','[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><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>\'Winter Deep\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 170px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3424162730/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/winter-deep\">Winter Deep by Chloë March</a></iframe><br /> October 2014</p><div> </div><p>The first single from the forthcoming re-release of \"Nights Bright Days\". ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace.</p><p>\"Nights Bright Days\" sees re-release through Hidden Shoal on the 4th of November 2014 and will include a bonus digital EP with six previously un-released tracks.</p><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 & 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','','','2014-10-06 11:38:18','2014-10-06 03:38:18','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10882,1,'2014-10-06 11:45:30','2014-10-06 03:45:30','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"245\" height=\"245\" />We have a stunning new single and accompanying music video for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\', stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud </a>and check out the music video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=oM7W6d5frbY\" target=\"_blank\">Youtube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/107662975\" target=\"_blank\">Vimeo</a>. read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','New Chloe March Single - Stream + Download','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 11:45:30','2014-10-06 03:45:30','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10883,1,'2014-10-06 12:15:14','2014-10-06 04:15:14','<img class=\"alignleft  wp-image-10523\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM3BioPic1-300x300.jpg\" alt=\"Chloë March\" width=\"245\" height=\"245\" />We have a stunning new single and accompanying music video for you from the forthcoming re-release of <i>Nights Bright Days</i> by <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>.  ‘<a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Winter Deep</a>’ is a shimmering waltz that opens the album with weightless grace and is a perfect introduction to the delicate and intoxicating music within.\r\n\r\nFour years in the making and originally self-released in 2013, <i>Nights Bright Days</i> 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. The Hidden Shoal re-release also includes a bonus digital EP with six previously un-released tracks and will drop on the 4th of November.\r\n\r\nHead to <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">BandCamp</a> to grab a free download of \'Winter Deep\', stream it at <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud </a>and check out the music video at <a title=\"YouTube\" href=\"https://www.youtube.com/watch?v=oM7W6d5frbY\" target=\"_blank\">Youtube</a> and <a title=\"Vimeo\" href=\"https://vimeo.com/107662975\" target=\"_blank\">Vimeo</a>. read more about Chloë March <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">here</a>.\r\n\r\n<iframe src=\"//www.youtube.com/embed/oM7W6d5frbY?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','New Chloe March Single - Stream + Download + Video','','inherit','closed','closed','','10869-revision-v1','','','2014-10-06 12:15:14','2014-10-06 04:15:14','',10869,'http://www.hiddenshoal.com/10869-revision-v1/',0,'revision','',0),(10884,1,'2014-10-06 15:20:49','2014-10-06 07:20:49','','Chloe-March-250px','','inherit','closed','closed','','chloe-march-250px','','','2014-10-06 15:20:49','2014-10-06 07:20:49','',11183,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Chloe-March-250px.jpg',0,'attachment','image/jpeg',0),(10885,1,'2014-10-07 09:23:07','2014-10-07 01:23:07','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"225\" height=\"226\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n<h5><strong>Which artist would you most like to cover one of your songs and why?</strong></h5>\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n<h5><strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong></h5>\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n<h5><strong>What\'s the best show you\'ve ever been to?</strong></h5>\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','publish','closed','closed','','three-questions-with-craig-hallsworth','','','2014-10-27 15:55:59','2014-10-27 07:55:59','',0,'http://www.hiddenshoal.com/?p=10885',0,'post','',0),(10886,1,'2014-10-06 17:20:30','2014-10-06 09:20:30','In this, the second of our Three Questions feature, we focus our spotlight on Craig Hallsworth of Tangled Star, The Slow Beings and such pivotal Perth outfits such as The Bamboos and The Healers. His last release under the Tangled Star moniker, <em>Let\'s Adjourn To The Garden</em>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I could go on for days with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-06 17:20:30','2014-10-06 09:20:30','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10887,1,'2014-10-06 17:26:10','2014-10-06 09:26:10','In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> feature, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a>, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a> and such pivotal Perth outfits such as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I could go on for days with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-06 17:26:10','2014-10-06 09:26:10','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10888,1,'2014-10-06 17:29:03','2014-10-06 09:29:03','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"198\" height=\"199\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> feature, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a>, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a> and such pivotal Perth outfits such as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I could go on for days with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-06 17:29:03','2014-10-06 09:29:03','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10889,1,'2014-10-06 17:30:46','2014-10-06 09:30:46','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"198\" height=\"199\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> feature, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a>, <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a> and such pivotal Perth outfits such as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on for days with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-06 17:30:46','2014-10-06 09:30:46','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10890,1,'2014-10-06 17:38:12','2014-10-06 09:38:12','This week\'s <a title=\"Featured Track\" href=\"http://www.hiddenshoal.com/category/features-articles/featured-track/\">featured track</a> comes via the wonderful dream-gaze of <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\">City of Satellites</a>. \'BMX\' from their brilliant debut album <a title=\"City of Satellites\" href=\"http://www.hiddenshoal.com/project/city-of-satellites/\"><em>Machine Is My Animal</em> </a>is a sublime cut. The song hovers across beds of widescreen synths and levitating rhythm guitar while Jarrod Manual\'s alto vocals weave through the mix. And then just when you\'re set in the groove, in comes a dramatic change that never fails to bring me goosebumps. It\'s such a beautiful pay-off and such smart and affecting songwriting. Be sure to also check out the brilliant music video for the track <a title=\"BMX Music Video\" href=\"https://www.youtube.com/watch?v=3W7HULu_CCc\" target=\"_blank\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/158268100&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>','Featured Track - City of Satellites \'BMX\'','','inherit','closed','closed','','10820-revision-v1','','','2014-10-06 17:38:12','2014-10-06 09:38:12','',10820,'http://www.hiddenshoal.com/10820-revision-v1/',0,'revision','',0),(10891,1,'2014-10-06 17:39:10','2014-10-06 09:39:10','This week\'s <a title=\"Featured Track\" href=\"http://www.hiddenshoal.com/category/features-articles/featured-track/\">featured track</a> is delivered by Hidden Shoal\'s Tim Clarke. It\'s a gorgeous track and a lovely little tale of how we snared Tim into the fold.\r\n\r\n\"Back in 2006, when Hidden Shoal was in its infancy and before I came on board, I reviewed a few of the releases for Norwegian e-zine Luna Kafe. <a title=\"My Majestic Star\" href=\"http://www.hiddenshoal.com/project/my-majestic-star/\">My Majestic Star</a>\'s <a title=\"My Majestic Star\" href=\"http://www.hiddenshoal.com/project/my-majestic-star/\"><em>Ideas Are The Answer</em></a> was one of these albums, of which \'Coffee Stains and Beer\' is the stunning opening track. It immediately put me in the same space as Papa M\'s <em>Live From A Shark Cage</em>, which is one of my favourite albums of all time. \'Coffee Stains and Beer\' is a close relative of <em>Shark Cage</em>\'s opener \'Arundel\'. Chris Mason has such a deft melodic sensibility and restraint in this song, comparable to Dave Pajo – which is a massive compliment! When I heard this song, it put things into perspective: a small label based in Perth were releasing stuff that stood up against some of the best music I\'ve ever heard. I had to get involved.\" – Tim Clarke\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169396536&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>','Featured Track - My Majestic Star \'Coffee Stains and Beer\'','','inherit','closed','closed','','10788-revision-v1','','','2014-10-06 17:39:10','2014-10-06 09:39:10','',10788,'http://www.hiddenshoal.com/10788-revision-v1/',0,'revision','',0),(10892,1,'2014-10-06 17:40:09','2014-10-06 09:40:09','We now get to intro another part of the new <a title=\"Hidden Shoal Features\" href=\"http://www.hiddenshoal.com/features/\">Features</a> section here at Hidden Shoal - <a title=\"Featured Track\" href=\"http://www.hiddenshoal.com/category/features-articles/featured-track/\">Featured Tracks</a>. Every week we\'ll be posting a pick from the Hidden Shoal catalogue and telling you why we love it. And without any further ado...\r\n\r\nThis weeks featured track is lifted from <a title=\"Mukaizake\" href=\"http://www.hiddenshoal.com/project/mukaizake/\">Mukaizake</a>\'s sublime 2009 mini-album <a href=\"http://mukaizake.bandcamp.com/album/unknown-knowns\"><em>Unknown Knowns</em></a>. \'My Friend Flicker\' swings and sways with the deftness of a zero gravity dancer, all the while dripping in melancholia and unrequitedness. If you\'ve not had the pleasure yet then don\'t deny yourself - head <a title=\"Mukaizake\" href=\"http://www.hiddenshoal.com/project/mukaizake/\">here</a> to stream the album in full and also nab yourself a copy.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/157788812&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>','Featured Track - Mukaizake \'My Friend Flicker\'','','inherit','closed','closed','','9538-revision-v1','','','2014-10-06 17:40:09','2014-10-06 09:40:09','',9538,'http://www.hiddenshoal.com/9538-revision-v1/',0,'revision','',0),(10893,1,'2014-10-07 09:21:48','2014-10-07 01:21:48','','The_Slow_Beings_9','','inherit','closed','closed','','the_slow_beings_9-2','','','2014-10-07 09:21:48','2014-10-07 01:21:48','',0,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/The_Slow_Beings_9.jpg',0,'attachment','image/jpeg',0),(10894,1,'2014-10-07 09:23:07','2014-10-07 01:23:07','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"198\" height=\"199\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:23:07','2014-10-07 01:23:07','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10895,1,'2014-10-07 09:24:39','2014-10-07 01:24:39','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"187\" height=\"188\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:24:39','2014-10-07 01:24:39','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10896,1,'2014-10-07 09:25:02','2014-10-07 01:25:02','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"174\" height=\"175\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:25:02','2014-10-07 01:25:02','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10897,1,'2014-10-07 09:25:31','2014-10-07 01:25:31','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"196\" height=\"197\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:25:31','2014-10-07 01:25:31','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10898,1,'2014-10-07 09:25:57','2014-10-07 01:25:57','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"232\" height=\"233\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:25:57','2014-10-07 01:25:57','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10899,1,'2014-10-07 09:27:31','2014-10-07 01:27:31','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"225\" height=\"226\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n\r\n<strong>Which artist would you most like to cover one of your songs and why?</strong>\r\n\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-07 09:27:31','2014-10-07 01:27:31','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10901,1,'2014-10-07 16:00:44','2014-10-07 08:00:44','\"The fusion of analog and digital material is perfect, just like the pleasantly heady confusion of the listener. <em>Binary Rooms</em> is an electroacoustic cosmos to discover.\"\r\n\r\n<strong>- Augsburger Allgemeine</strong>','Markus Mehr \"Binary Rooms\" Reviewed by Augsburger Allgemeine','','publish','closed','closed','','markus-mehr-binary-rooms-reviewed-by-augsburger-allgemeine','','','2014-10-07 16:00:44','2014-10-07 08:00:44','',0,'http://www.hiddenshoal.com/?p=10901',0,'post','',0),(10902,1,'2014-10-07 16:00:44','2014-10-07 08:00:44','\"The fusion of analog and digital material is perfect, just like the pleasantly heady confusion of the listener. <em>Binary Rooms</em> is an electroacoustic cosmos to discover.\"\r\n\r\n<strong>- Augsburger Allgemeine</strong>','Markus Mehr \"Binary Rooms\" Reviewed by Augsburger Allgemeine','','inherit','closed','closed','','10901-revision-v1','','','2014-10-07 16:00:44','2014-10-07 08:00:44','',10901,'http://www.hiddenshoal.com/10901-revision-v1/',0,'revision','',0),(10903,1,'2014-10-09 17:00:12','2014-10-09 09:00:12','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1.jpg\"><img class=\"alignleft  wp-image-9378\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1-300x200.jpg\" alt=\"Down Review\" width=\"228\" height=\"152\" /></a>This week\'s featured track comes to us from <a title=\"Down Review\" href=\"http://www.hiddenshoal.com/project/down-review/\">Down Review</a>,  the sublime collaboration between <a title=\"Medard Fischer\" href=\"https://medardfischer.bandcamp.com\" target=\"_blank\">Medard Fischer</a> (Arc Lab) and  Tim Arndt (<a title=\"Near The Parenthesis\" href=\"http://www.neartheparenthesis.com/\" target=\"_blank\">Near The Parenthesis</a>). Their 2009 EP <a title=\"From Here, For Anyone\" href=\"https://downreview.bandcamp.com/album/from-here-for-anyone\" target=\"_blank\"><em>From Here, For Anyone</em></a> was everything fans would expect from the meeting of these two musical minds and much more. The lead track \'Anything is Everything\' squeezes everything that is good about both artists (believe me that\'s a lot!) and gently expresses the pressure across the near 6 minutes of its  luscious ambient electronica landscape. It\'s impossible for me not to muse around ideas of travel and movement, both spatially and emotionally, when listening to this song. I believe we described this song as \"a post-midnight drive through a flaking neon city\" 5 years ago and that well and truly still works for me.\r\n\r\nEnjoy.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171314250&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>','Featured Track - Down Review \'Anything is Everything\'','','publish','closed','closed','','featured-track-down-review-anything-is-everything','','','2016-06-20 10:42:01','2016-06-20 02:42:01','',0,'http://www.hiddenshoal.com/?p=10903',0,'post','',0),(10904,1,'2014-10-09 16:55:51','2014-10-09 08:55:51','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1.jpg\"><img class=\"alignleft  wp-image-9378\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1-300x200.jpg\" alt=\"Down Review\" width=\"228\" height=\"152\" /></a>This week\'s featured track comes to us from <a title=\"Down Review\" href=\"http://www.hiddenshoal.com/project/down-review/\">Down Review</a>,  the sublime collaboration between <a title=\"Medard Fischer\" href=\"https://medardfischer.bandcamp.com\" target=\"_blank\">Medard Fischer</a> (Arc Lab) and  Tim Arndt (<a title=\"Near The Parenthesis\" href=\"http://www.neartheparenthesis.com/\" target=\"_blank\">Near The Parenthesis</a>). Their 2009 EP <a title=\"From Here, For Anyone\" href=\"https://downreview.bandcamp.com/album/from-here-for-anyone\" target=\"_blank\"><em>From Here, For Anyone</em></a> was everything you fans would expect from the meeting of these two musical minds and much more. The lead track \'Anything is Everything\' squeezes everything that is good about both artists (believe me that\'s a lot!) and gently expresses the pressure across the near 6 minutes of its  luscious ambient electronica landscape. It\'s impossible for me not to muse around ideas of travel and movement, both spatially and emotionally, when listening to this song. I believe we described this song as \"a post-midnight drive through a flaking neon city\" 5 years ago and that well and truly still works for me.\r\n\r\nEnjoy.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171314250&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>','Featured Track - Down Review \'Anything is Everything\'','','inherit','closed','closed','','10903-revision-v1','','','2014-10-09 16:55:51','2014-10-09 08:55:51','',10903,'http://www.hiddenshoal.com/10903-revision-v1/',0,'revision','',0),(10905,1,'2014-10-09 16:57:09','2014-10-09 08:57:09','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1.jpg\"><img class=\"alignleft  wp-image-9378\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Down_Review1-300x200.jpg\" alt=\"Down Review\" width=\"228\" height=\"152\" /></a>This week\'s featured track comes to us from <a title=\"Down Review\" href=\"http://www.hiddenshoal.com/project/down-review/\">Down Review</a>,  the sublime collaboration between <a title=\"Medard Fischer\" href=\"https://medardfischer.bandcamp.com\" target=\"_blank\">Medard Fischer</a> (Arc Lab) and  Tim Arndt (<a title=\"Near The Parenthesis\" href=\"http://www.neartheparenthesis.com/\" target=\"_blank\">Near The Parenthesis</a>). Their 2009 EP <a title=\"From Here, For Anyone\" href=\"https://downreview.bandcamp.com/album/from-here-for-anyone\" target=\"_blank\"><em>From Here, For Anyone</em></a> was everything fans would expect from the meeting of these two musical minds and much more. The lead track \'Anything is Everything\' squeezes everything that is good about both artists (believe me that\'s a lot!) and gently expresses the pressure across the near 6 minutes of its  luscious ambient electronica landscape. It\'s impossible for me not to muse around ideas of travel and movement, both spatially and emotionally, when listening to this song. I believe we described this song as \"a post-midnight drive through a flaking neon city\" 5 years ago and that well and truly still works for me.\r\n\r\nEnjoy.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/171314250&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>','Featured Track - Down Review \'Anything is Everything\'','','inherit','closed','closed','','10903-revision-v1','','','2014-10-09 16:57:09','2014-10-09 08:57:09','',10903,'http://www.hiddenshoal.com/10903-revision-v1/',0,'revision','',0),(10906,1,'2014-10-09 16:58:30','2014-10-09 08:58:30','','Down_Review','','inherit','closed','closed','','down_review-3','','','2014-10-09 16:58:30','2014-10-09 08:58:30','',0,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Down_Review.jpg',0,'attachment','image/jpeg',0),(10908,1,'2014-10-13 14:17:55','2014-10-13 06:17:55','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"225\" height=\"226\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n<h5><strong>Which artist would you most like to cover one of your songs and why?</strong></h5>\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-autosave-v1','','','2014-10-13 14:17:55','2014-10-13 06:17:55','',10885,'http://www.hiddenshoal.com/10885-autosave-v1/',0,'revision','',0),(10909,1,'2014-10-13 14:17:47','2014-10-13 06:17:47','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"225\" height=\"226\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n<h5><strong>Which artist would you most like to cover one of your songs and why?</strong></h5>\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n\r\n<strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong>\r\n\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n\r\n<strong>What\'s the best show you\'ve ever been to?</strong>\r\n\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-13 14:17:47','2014-10-13 06:17:47','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10910,1,'2014-10-13 14:18:09','2014-10-13 06:18:09','<a href=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9.jpg\"><img class=\"alignleft  wp-image-9122\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/The_Slow_Beings_9-298x300.jpg\" alt=\"The Slow Beings\" width=\"225\" height=\"226\" /></a>In this, the second of our <a title=\"Three Questions\" href=\"http://www.hiddenshoal.com/category/features-articles/three-questions/\">Three Questions</a> features, we focus our spotlight on Craig Hallsworth of <a title=\"Tangled Star\" href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a> and <a title=\"The Slow Beings\" href=\"http://www.hiddenshoal.com/project/the-slow-beings/\">The Slow Beings</a>, and previously such pivotal Perth outfits as The Bamboos and The Healers. His last release under the Tangled Star moniker, <a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/album/lets-adjourn-to-the-garden\" target=\"_blank\"><em>Let\'s Adjourn To The Garden</em></a>, is the perfect example of his innate sense of melody, composition and wordplay. It\'s all wrapped in the guise of rock\'n\'roll, buts it\'s something else if you listen closely enough. Anyway I, and many others, could go on and on with praise for this man and his music.\r\n\r\nSo without further complications we ask Craig to reach into the bag and pull out three questions.\r\n<h5><strong>Which artist would you most like to cover one of your songs and why?</strong></h5>\r\nI\'d like MGMT to cover \'<a title=\"Bandcamp\" href=\"https://tangled-star.bandcamp.com/track/attic-space-conversion-1\" target=\"_blank\">Attic Space Conversion #1</a>\'. They\'re smarter and more talented than me, and they\'d have the resources to do a better job than me. It\'s a long song of many different parts, almost like a medley of parts of several different songs, and they do that kind of thing brilliantly, notably \'Siberian Breaks\' from their second album <em>Congratulations</em>.\r\n\r\nThen I\'d like Nico and the Velvet Underground to do tosleepingpeople, just because she could sing a toothpaste commercial and lend it a decadently cool gravitas, so she might be able to do the same for me.\r\n<h5><strong>If you were writing a soundtrack/score, which director would you most like to work with?</strong></h5>\r\nThere\'s a Thai director by the name of Apichatpong Weerasethakul who made a Palme D\'or winning film titled <em>Uncle Boonmee Who Can Recall His Past Lives</em>. The strangeness of this film is so natural and beautiful and true, the poetry of it is the poetry of a haunted jungle beyond our banal Western concepts. The film ends with a rather awesome guitar-driven pop song sung in Thai by Penguin Villa.\r\n<h5><strong>What\'s the best show you\'ve ever been to?</strong></h5>\r\nI find I only remember moments here and there. One was the Old Melbourne hotel about !984. The Scientists started with \'We Had Love\'. It had that sort of tension building intro, then it just exploded. It really was like a rock\'n\'roll bomb going off. Another memorable show was My Bloody Valentine at the same venue several years later. Real fans were mostly disappointed - it was a blaring mess, you couldn\'t hear any vocals or anything. I wasn\'t really a fan, but I found it kind of sublime. A completely different kind of show was Jonathan Richman at the Red Parrot about \'83. It was just Jonathan with a guitar, and a packed venue hanging on everything he did. At one point, he put his guitar down in the middle of a song and rolled around on the floor, while the audience continued to clap along in time. Then there was the Cramps at the same venue in about \'87 (which my band at the time, the Bamboos, supported). Lux Interior came on in a shiny gold suit looking like Elvis from hell. By the end he was climbing the PA stacks in his underwear, mascara running down his face, swigging red wine from a bottle.','Three Questions With Craig Hallsworth','','inherit','closed','closed','','10885-revision-v1','','','2014-10-13 14:18:09','2014-10-13 06:18:09','',10885,'http://www.hiddenshoal.com/10885-revision-v1/',0,'revision','',0),(10911,1,'2014-10-13 14:20:08','2014-10-13 06:20:08','Every few weeks we ask one of the Hidden Shoal artists to choose three questions from a list of many and answer them as they wish. A little bit of fun mixed with a little bit of insight – and a nice preview to the full-length interviews we have lined up throughout the year with all the Hidden Shoal artists.\n\n<img class=\"alignleft  wp-image-9266\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Todd_Tobias_1-222x300.jpg\" alt=\"Todd Tobias\" width=\"116\" height=\"157\" />Our first three questions are directed at the lovely <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. Todd is one half of Brother Earth whose brilliant new album <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> has just dropped. His next solo album <em>Impossible Cities</em> comes out on the 28th of October (check out the first single <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">here</a>). You may also know him from his collaborations with Robert Pollard (Circus Devils and Pollards solo material) and also as producer of a number of Guided By Voices albums.\n\nSo without further ado we ask Todd to reach into the bag and pull out three questions.\n<h5><strong>Why make music?</strong></h5>\nIt begins with self-enchantment. From there, if the artist is fortunate, it becomes a source of enchantment for others.\n\n<h5><strong>If you were writing a soundtrack/score, what director would you most want to work with?</strong>\nJan Svankmajer. He is Czech filmmaker whose movies have a surreal quality, mixing live action with animation. His movies are scary and funny at the same time.</h5>\n<h5><strong>What\'s the best show you\'ve ever been to?</strong>\nLast summer (2013) I saw the Joffrey Ballet perform to The Rite Of Spring at an outdoor venue here in Ohio called The Blossom Music Center. It was a magical night.</h5>','Three Questions With Todd Tobias','','inherit','closed','closed','','10761-autosave-v1','','','2014-10-13 14:20:08','2014-10-13 06:20:08','',10761,'http://www.hiddenshoal.com/10761-autosave-v1/',0,'revision','',0),(11144,1,'2014-10-28 13:56:57','2014-10-28 05:56:57','Every few weeks we ask one of the Hidden Shoal artists to choose three questions from a list of many and answer them as they wish. A little bit of fun mixed with a little bit of insight – and a nice preview to the full-length interviews we have lined up throughout the year with all the Hidden Shoal artists.\r\n\r\n<img class=\"alignleft  wp-image-9266\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Todd_Tobias_1-222x300.jpg\" alt=\"Todd Tobias\" width=\"116\" height=\"157\" />Our first three questions are directed at the lovely <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. Todd is one half of Brother Earth whose brilliant new album <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> has just dropped. His next solo album <em>Impossible Cities</em> comes out on the 28th of October (check out the first single <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">here</a>). You may also know him from his collaborations with Robert Pollard (Circus Devils and Pollards solo material) and also as producer of a number of Guided By Voices albums.\r\n\r\nSo without further ado we ask Todd to reach into the bag and pull out three questions.\r\n<h5>Why make music?</h5>\r\nIt begins with self-enchantment. From there, if the artist is fortunate, it becomes a source of enchantment for others.\r\n<h5>If you were writing a soundtrack/score, what director would you most want to work with?</h5>\r\nJan Svankmajer. He is Czech filmmaker whose movies have a surreal quality, mixing live action with animation. His movies are scary and funny at the same time.\r\n<h5>What\'s the best show you\'ve ever been to?</h5>\r\nLast summer (2013) I saw the Joffrey Ballet perform to The Rite Of Spring at an outdoor venue here in Ohio called The Blossom Music Center. It was a magical night.','Three Questions With Todd Tobias','','inherit','closed','closed','','10761-revision-v1','','','2014-10-28 13:56:57','2014-10-28 05:56:57','',10761,'http://www.hiddenshoal.com/10761-revision-v1/',0,'revision','',0),(10912,1,'2014-10-13 14:20:38','2014-10-13 06:20:38','Every few weeks we ask one of the Hidden Shoal artists to choose three questions from a list of many and answer them as they wish. A little bit of fun mixed with a little bit of insight – and a nice preview to the full-length interviews we have lined up throughout the year with all the Hidden Shoal artists.\r\n\r\n<img class=\"alignleft  wp-image-9266\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Todd_Tobias_1-222x300.jpg\" alt=\"Todd Tobias\" width=\"116\" height=\"157\" />Our first three questions are directed at the lovely <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a>. Todd is one half of Brother Earth whose brilliant new album <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\"><em>Positive Haywires</em></a> has just dropped. His next solo album <em>Impossible Cities</em> comes out on the 28th of October (check out the first single <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">here</a>). You may also know him from his collaborations with Robert Pollard (Circus Devils and Pollards solo material) and also as producer of a number of Guided By Voices albums.\r\n\r\nSo without further ado we ask Todd to reach into the bag and pull out three questions.\r\n<h5><strong>Why make music?</strong></h5>\r\nIt begins with self-enchantment. From there, if the artist is fortunate, it becomes a source of enchantment for others.\r\n<h5><strong>If you were writing a soundtrack/score, what director would you most want to work with?</strong></h5>\r\nJan Svankmajer. He is Czech filmmaker whose movies have a surreal quality, mixing live action with animation. His movies are scary and funny at the same time.\r\n<h5><strong>What\'s the best show you\'ve ever been to?</strong></h5>\r\nLast summer (2013) I saw the Joffrey Ballet perform to The Rite Of Spring at an outdoor venue here in Ohio called The Blossom Music Center. It was a magical night.','Three Questions With Todd Tobias','','inherit','closed','closed','','10761-revision-v1','','','2014-10-13 14:20:38','2014-10-13 06:20:38','',10761,'http://www.hiddenshoal.com/10761-revision-v1/',0,'revision','',0),(10913,1,'2014-10-13 14:22:13','2014-10-13 06:22:13','<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>\n&nbsp;\n<h5 style=\"text-align: justify;\"><b>Do you remember the first song you wrote?</b></h5>\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>\n\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>\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>\n\n<h5 style=\"text-align: justify;\"><b>Can you tell us a little about your songwriting process?</b></h5>\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>\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>\n<h5 style=\"text-align: justify;\"><b>Does living in the mountains influence your songwriting?</b></h5>\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>\n&nbsp;\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>\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>\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>\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>\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>\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>\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>\n<p style=\"text-align: justify;\"><b>7. Can you tell us what you do outside of making music?</b></p>\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>\n<p style=\"text-align: justify;\"><b>8. What’s spinning on the Kramies stereo at the moment?</b></p>\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>\n<p style=\"text-align: justify;\"><b>9. Is it true that you share a house with Neil Diamond?</b></p>\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>\n<p style=\"text-align: justify;\"><b>10. What’s next for Kramies?</b></p>\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>\n&nbsp;\n\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-autosave-v1','','','2014-10-13 14:22:13','2014-10-13 06:22:13','',10603,'http://www.hiddenshoal.com/10603-autosave-v1/',0,'revision','',0),(10914,1,'2014-10-13 14:23:28','2014-10-13 06:23:28','<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 ','','inherit','closed','closed','','10603-revision-v1','','','2014-10-13 14:23:28','2014-10-13 06:23:28','',10603,'http://www.hiddenshoal.com/10603-revision-v1/',0,'revision','',0),(10915,1,'2014-10-13 14:27:45','2014-10-13 06:27:45','','Steve Griffen','','inherit','closed','closed','','steve-griffen-stranded-in-goa','','','2014-10-13 14:27:45','2014-10-13 06:27:45','',10907,'http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa.jpeg',0,'attachment','image/jpeg',0),(10916,1,'2014-10-13 14:31:06','2014-10-13 06:31:06','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />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.\r\n\r\nSteve Griffen has worked as a music supervisor in the US on such diverse projects as It’s Always Sunny In Philadelphia, Hot Tub Time Machine, We Are Marshall, the upcoming Mr Robinson (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the 30 Days In May documentary, which features nine songs from the Hidden Shoal catalogue, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt 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.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe 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.\r\n<h5>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\nIt 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.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\nFor 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 Angeles’.  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.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’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.\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  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.\r\n<h5>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\nI 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.\r\n<h5>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\nThe 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…\r\n\r\nI 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.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe 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.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally 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.','An Interview with Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-13 14:31:06','2014-10-13 06:31:06','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10917,1,'2014-10-13 14:38:10','2014-10-13 06:38:10','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />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.\r\n\r\nSteve Griffen has worked as a music supervisor in the US on such diverse projects as It’s Always Sunny In Philadelphia, Hot Tub Time Machine, We Are Marshall, the upcoming Mr Robinson (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the 30 Days In May documentary, which features nine songs from the Hidden Shoal catalogue, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt 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.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe 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.\r\n<h5>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\nIt 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.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\nFor 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 Angeles’.  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.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’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.\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  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.\r\n<h5>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\nI 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.\r\n<h5>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\nThe 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…\r\n\r\nI 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.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe 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.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally 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.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-13 14:38:10','2014-10-13 06:38:10','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10918,1,'2014-10-13 16:09:21','2014-10-13 08:09:21','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />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.\r\n\r\n<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 It’s Always Sunny In Philadelphia, Hot Tub Time Machine, We Are Marshall, the upcoming Mr Robinson (starring the awesome Craig Robinson), and many more. We’ve had the pleasure of working with Steve on the 30 Days In May documentary, which features nine songs from the Hidden Shoal catalogue, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt 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.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe 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.\r\n<h5>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\nIt 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.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\nFor 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 Angeles’.  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.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’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.\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  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.\r\n<h5>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\nI 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.\r\n<h5>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\nThe 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…\r\n\r\nI 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.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe 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.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally 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.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-13 16:09:21','2014-10-13 08:09:21','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(10919,1,'2014-10-13 16:26:10','2014-10-13 08:26:10','<img class=\"alignleft size-medium wp-image-10915\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/10/Steve-Griffen-Stranded-in-Goa-300x233.jpeg\" alt=\"Steve Griffen\" width=\"300\" height=\"233\" />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.\r\n\r\n<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 It’s Always Sunny In Philadelphia, Hot Tub Time Machine, We Are Marshall, the upcoming Mr Robinson (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 Hidden Shoal catalogue, and we know he’s an in-demand, busy man, so we thank him greatly for taking the time to answer the following questions:\r\n<h5>How did you get into music supervision?</h5>\r\nIt 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.\r\n<h5>What’s a day in the life of a music supervisor like?</h5>\r\nThe 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.\r\n<h5>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\nIt 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.\r\n<h5>What’s been your favourite music placement and why?</h5>\r\nFor 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.\r\n<h5>Without telling tales out of school, what was your hardest sync?</h5>\r\nI’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.\r\n\r\n<iframe src=\"//www.youtube.com/embed/vimZj8HW0Kg?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n<h5>Do you ever have to argue the value of a particular song to a director?</h5>\r\nConstantly.  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.\r\n<h5>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\nI 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.\r\n<h5>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\nThe 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…\r\n\r\nI 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.\r\n<h5>Can you tell us about the upcoming Mr Robinson project? (We’re big Craig Robinson fans!)</h5>\r\nThe 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.\r\n<h5>What’s spinning on Steve Griffen’s turntable at the moment?</h5>\r\nLiterally 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.','Sound and Scene with Music Supervisor Steve Griffen','','inherit','closed','closed','','10907-revision-v1','','','2014-10-13 16:26:10','2014-10-13 08:26:10','',10907,'http://www.hiddenshoal.com/10907-revision-v1/',0,'revision','',0),(11075,1,'2014-10-22 16:59:51','2014-10-22 08:59:51','\"I’m not advocating you start the working week with a drink. But I do suggest that you start it with Elisa Luu’s <em>Shebeen</em>. As many will know, it’s an illegal drinking den. I’ve always assumed it’s Irish. derivation But I didn’t <a href=\"http://en.wikipedia.org/wiki/Shebeen\" target=\"_blank\">know</a> that “<em>The word derives from the Irish síbín, meaning ‘illicit whiskey’</em>” Elisa’s <em>Shebeen</em> is awkward, crunchy, clicky IDM initially becoming strummed glitched guitar eventually. Free download.\r\n\r\nThe track is from the “<em>forthcoming Elisa Luu mini-album Enchanting Gaze. On this new album, Elisa Luu’s shimmering tones and deftly handled rhythms are manipulated into new and beautiful shapes</em>.” If this free track is any indication of what’s to come I’d recommend checking it out when it’s released on 3 November through <a href=\"http://www.labelnetlabel.com/\" target=\"_blank\">La Bel</a>.\"\r\n\r\n- <a title=\"Acid Ted\" href=\"http://acidted.wordpress.com/2014/10/20/illicit-whiskey/\" target=\"_blank\"><strong>Acid Ted</strong></a>','Elisa Luu \'Shebeen\' Reviewed at Acid Ted','','publish','closed','closed','','elisa-luu-shebeen-reviewed-at-acid-ted','','','2014-10-22 16:59:51','2014-10-22 08:59:51','',0,'http://www.hiddenshoal.com/?p=11075',0,'post','',0),(10921,1,'2014-10-14 10:13:46','2014-10-14 02:13:46','[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>\'Winter Deep\' (Single)</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 170px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3424162730/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://chloemarch.bandcamp.com/album/winter-deep\">Winter Deep by Chloë March</a></iframe><br /> October 2014</p><div> </div><p>The first single from the forthcoming re-release of \"Nights Bright Days\". ‘Winter Deep’ is a shimmering waltz that opens the album with weightless grace.</p><p>\"Nights Bright Days\" sees re-release through Hidden Shoal on the 4th of November 2014 and will include a bonus digital EP with six previously un-released tracks.</p><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><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><div> </div><h4>Snowdrop</h4><div> </div><p><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><br /> November 2004</p><div> </div><p>Chloë March\'s first album includes pared-down ballads for piano and voice and her first explorations into more epic, multi-layered highly evocative soundworlds.</p><p><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></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 & 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','','','2014-10-14 10:13:46','2014-10-14 02:13:46','',10515,'http://www.hiddenshoal.com/10515-revision-v1/',0,'revision','',0),(10922,1,'2014-10-14 11:29:28','2014-10-14 03:29:28','[Poorly translated from the original Italian via Google. Read the original <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">here</a>]\r\n\r\n\"Australian label Hidden Shoal does not cease to bear stimulating sonic fruit with its careful search for new ambient prospects conducted on a global scale , which led to discover artists such as Wes Willenbring , Drew Sullivan and Elisa Luu, just to name a few.\r\n\r\nThe most recent candidate to add to the partial list of names above is the German Christian Grothe, making his debut under the alias Kryshe. His  EP <em>In Between</em> is a little more than twenty minutes, and as  the title suggests it evokes sensations both suspended and surreal. The five tracks from <em>In Between</em> keep the faith of the message evoked by the title, distilling the environmental vision of Grothe, tightly anchored to the classics of the genre but updated by its remarkable imaginative capacity, through which the German artist draws audio postcards on piano notes apparently resonating in a tank but because of this bring out the timbres over time.\r\n\r\n<em>In Between</em> is all very soft and relaxed, starting with a sleepy gait and by the gradual thickening of the low tones of the opening title track, which also occurs in the desolate reverberations of \"Lone\". The two pieces named after geographical locations with taste will reflect the suggestions, \"Iceland\" in a cameo as valuable as a small sound box, \"Africa\" ​​with the warmth of dilated persistence and notes more and more sparse, such as grains of sand transported by a desert wind. The second part of the brief work marks the gradual prevalence of evanescent suspension (not coincidentally the same Grothe presents portrait with guitar and bow), which are lulling in the final outcome, \"Lullaby\".\r\n\r\nGrothe does not use drone nor easy emotional tricks, yet his environmental interpretation in the essentiality of its elements is a valid reason for a release that almost amazes in it\'s structural cohesion and an explicit reference to a soundscaping now rare even in its adherence to the canons of the original contemporary ambient music.\"\r\n\r\n-<a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong> Music Won\'t Save You</strong></a>','Kryshe \"In Between\" Reviewed at Music Won\'t Save You','','publish','closed','closed','','kryshe-in-between-reviewed-at-music-wont-save-you','','','2014-10-14 11:29:28','2014-10-14 03:29:28','',0,'http://www.hiddenshoal.com/?p=10922',0,'post','',0),(10923,1,'2014-10-14 10:34:09','2014-10-14 02:34:09','Australian label Hidden Shoal does not cease to bear stimulating sonic fruit with its careful search for new ambient prospects conducted on a global scale , which led to discover artists such as Wes Willenbring , Drew Sullivan and Elisa Luu, just to name a few.\r\n\r\nThe most recent candidate to thicken the partial list of names above is the German Christian Grothe, making his debut under the alias Ep Kryshe a little more than twenty minutes, that since the title suggests sensations suspended and surreal. The five tracks from \"In Between\" keep the faith message evoked by the title, distilling the environmental vision of Grothe, tightly anchored to the classics of the genre but discounted by its remarkable imaginative capacity, through which the German artist draws audio postcards on piano notes apparently resonating in a tank but because of this that bring out the stamps and times.\r\n\r\nIt is all very soft and relaxed in \"In Between\", starting dall\'incedere sleepy and by the gradual thickening of the low tones of the opening title track, which also occurs in the desolate reverberations of \"Lone\". The two pieces named after geographical locations with taste will reflect the suggestions, \"Iceland\" in a cameo as valuable as a small sound box, \"Africa\" ​​with the warmth of dilated persistence and notes more and more sparse, such as grains of sand transported by wind desert. The second part of the brief work marks the gradual prevalence of evanescent suspensions (not coincidentally the same Grothe presents portrait with guitar and bow), which are lulling in the final outcome, \"Lullaby\".\r\n\r\nGrothe does not use drone nor easy tricks emotional, yet its environmental interpretation in the essentiality of its elements is a valid reason for a proposal that almost amazes structural cohesion and explicit reference to a Soundscaping now rare even in its adherence to the canons of the original ambient music contemporary.','Kryshe \"In Between\" Reviewed at Music Won\'t Save You','','inherit','closed','closed','','10922-revision-v1','','','2014-10-14 10:34:09','2014-10-14 02:34:09','',10922,'http://www.hiddenshoal.com/10922-revision-v1/',0,'revision','',0),(10924,1,'2014-10-14 11:29:28','2014-10-14 03:29:28','[Poorly translated from the original Italian via Google. Read the original <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">here</a>]\r\n\r\n\"Australian label Hidden Shoal does not cease to bear stimulating sonic fruit with its careful search for new ambient prospects conducted on a global scale , which led to discover artists such as Wes Willenbring , Drew Sullivan and Elisa Luu, just to name a few.\r\n\r\nThe most recent candidate to add to the partial list of names above is the German Christian Grothe, making his debut under the alias Kryshe. His  EP <em>In Between</em> is a little more than twenty minutes, and as  the title suggests it evokes sensations both suspended and surreal. The five tracks from <em>In Between</em> keep the faith of the message evoked by the title, distilling the environmental vision of Grothe, tightly anchored to the classics of the genre but updated by its remarkable imaginative capacity, through which the German artist draws audio postcards on piano notes apparently resonating in a tank but because of this bring out the timbres over time.\r\n\r\n<em>In Between</em> is all very soft and relaxed, starting with a sleepy gait and by the gradual thickening of the low tones of the opening title track, which also occurs in the desolate reverberations of \"Lone\". The two pieces named after geographical locations with taste will reflect the suggestions, \"Iceland\" in a cameo as valuable as a small sound box, \"Africa\" ​​with the warmth of dilated persistence and notes more and more sparse, such as grains of sand transported by a desert wind. The second part of the brief work marks the gradual prevalence of evanescent suspension (not coincidentally the same Grothe presents portrait with guitar and bow), which are lulling in the final outcome, \"Lullaby\".\r\n\r\nGrothe does not use drone nor easy emotional tricks, yet his environmental interpretation in the essentiality of its elements is a valid reason for a release that almost amazes in it\'s structural cohesion and an explicit reference to a soundscaping now rare even in its adherence to the canons of the original contemporary ambient music.\"\r\n\r\n-<a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong> Music Won\'t Save You</strong></a>','Kryshe \"In Between\" Reviewed at Music Won\'t Save You','','inherit','closed','closed','','10922-revision-v1','','','2014-10-14 11:29:28','2014-10-14 03:29:28','',10922,'http://www.hiddenshoal.com/10922-revision-v1/',0,'revision','',0),(10925,1,'2014-10-14 12:12:06','2014-10-14 04:12:06','<a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"270\" height=\"181\" />Kryshe</a>\'s stunning new mini-album <em>In Between</em> has just scooped a glowing review over at Italy\'s <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">Music Won\'t Save You</a>. Here\'s a taste, even if poorly translated from the original Italian,\r\n\r\n<em>\"The five songs from \"In Between\" keep faith to the message evoked through it\'s title, by distilling the environmental vision of Grothe, firmly anchored to the classics of the genre but updated by its considerable highly imaginative capacity, through which the German artist draws sonic postcards on resonating piano notes...\"</em> - <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong>Music Won\'t Save You</strong></a>\r\n\r\nRead more about Kryshe and stream and download <em>In Between</em> <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a>.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&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>','Kryshe Review at Music Won\'t Save You','','publish','closed','closed','','kryshe-review-at-music-wont-save-you','','','2016-02-03 15:48:15','2016-02-03 07:48:15','',0,'http://www.hiddenshoal.com/?p=10925',0,'post','',0),(10926,1,'2014-10-14 11:45:08','2014-10-14 03:45:08','Kryshe\'s stunning new mini-album <em>In Between</em> has just scooped a glowing review over at Italy\'s <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">Music Won\'t Save You</a>. Here\'s a taste, even if poorly translated from the original Italian,\r\n\r\n\"The five songs from \"In Between\" keep faith to the message evoked through it\'s title, by distilling the environmental vision of Grothe, firmly anchored to the classics of the genre but updated by its considerable highly imaginative capacity, through which the German artist draws sonic postcards on resonating piano notes...\"','Kryshe Review at Music Won\'t Save You','','inherit','closed','closed','','10925-revision-v1','','','2014-10-14 11:45:08','2014-10-14 03:45:08','',10925,'http://www.hiddenshoal.com/10925-revision-v1/',0,'revision','',0),(10927,1,'2014-10-14 12:08:34','2014-10-14 04:08:34','<a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"191\" height=\"128\" />Kryshe</a>\'s stunning new mini-album <em>In Between</em> has just scooped a glowing review over at Italy\'s <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">Music Won\'t Save You</a>. Here\'s a taste, even if poorly translated from the original Italian,\r\n\r\n<em>\"The five songs from \"In Between\" keep faith to the message evoked through it\'s title, by distilling the environmental vision of Grothe, firmly anchored to the classics of the genre but updated by its considerable highly imaginative capacity, through which the German artist draws sonic postcards on resonating piano notes...\"</em> - <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong>Music Won\'t Save You</strong></a>\r\n\r\nRead more about Kryshe and stream and download <em>In Between</em> <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&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>','Kryshe Review at Music Won\'t Save You','','inherit','closed','closed','','10925-revision-v1','','','2014-10-14 12:08:34','2014-10-14 04:08:34','',10925,'http://www.hiddenshoal.com/10925-revision-v1/',0,'revision','',0),(10928,1,'2014-10-14 12:09:51','2014-10-14 04:09:51','<a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"234\" height=\"157\" />Kryshe</a>\'s stunning new mini-album <em>In Between</em> has just scooped a glowing review over at Italy\'s <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">Music Won\'t Save You</a>. Here\'s a taste, even if poorly translated from the original Italian,\r\n\r\n<em>\"The five songs from \"In Between\" keep faith to the message evoked through it\'s title, by distilling the environmental vision of Grothe, firmly anchored to the classics of the genre but updated by its considerable highly imaginative capacity, through which the German artist draws sonic postcards on resonating piano notes...\"</em> - <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong>Music Won\'t Save You</strong></a>\r\n\r\nRead more about Kryshe and stream and download <em>In Between</em> <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&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>','Kryshe Review at Music Won\'t Save You','','inherit','closed','closed','','10925-revision-v1','','','2014-10-14 12:09:51','2014-10-14 04:09:51','',10925,'http://www.hiddenshoal.com/10925-revision-v1/',0,'revision','',0),(10929,1,'2014-10-14 12:10:19','2014-10-14 04:10:19','<a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\"><img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"270\" height=\"181\" />Kryshe</a>\'s stunning new mini-album <em>In Between</em> has just scooped a glowing review over at Italy\'s <a title=\"Music Won\'t Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\">Music Won\'t Save You</a>. Here\'s a taste, even if poorly translated from the original Italian,\r\n\r\n<em>\"The five songs from \"In Between\" keep faith to the message evoked through it\'s title, by distilling the environmental vision of Grothe, firmly anchored to the classics of the genre but updated by its considerable highly imaginative capacity, through which the German artist draws sonic postcards on resonating piano notes...\"</em> - <a title=\"Music Will Not Save You\" href=\"http://musicwontsaveyou.com/2014/09/25/kryshe-in-between/\" target=\"_blank\"><strong>Music Won\'t Save You</strong></a>\r\n\r\nRead more about Kryshe and stream and download <em>In Between</em> <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a>.\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/164994994&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>','Kryshe Review at Music Won\'t Save You','','inherit','closed','closed','','10925-revision-v1','','','2014-10-14 12:10:19','2014-10-14 04:10:19','',10925,'http://www.hiddenshoal.com/10925-revision-v1/',0,'revision','',0),(10930,1,'2014-10-14 12:23:15','2014-10-14 04:23:15','The beautiful remix by Lövmark of Antonymes \'Doubt\' taken from the just released EP <a title=\"Deconstruction Manual\" href=\"https://hiddenshoal.bandcamp.com/album/deconstruction-manual\" target=\"_blank\"><em>Deconstruction Manual</em></a> is one this week\'s <a title=\"RTRFM\" href=\"http://rtrfm.com.au/features/\" target=\"_blank\">featured tracks</a> over at the ever wonderful RTRFM. Read more about the EP including free download info <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">here</a>.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169959513&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Lövmark\'s Remix of Antonymes \'Doubt\' Featured Track at RTRFM','','publish','closed','closed','','doubt-lovmark-remix-by-antonymes-featured-track-at-rtrfm','','','2016-02-03 13:41:22','2016-02-03 05:41:22','',0,'http://www.hiddenshoal.com/?p=10930',0,'post','',0),(10932,1,'2014-10-14 12:22:02','2014-10-14 04:22:02','The beautiful remix by Lövmark of Antonymes \'Doubt\' taken from the just released EP <a title=\"Deconstruction Manual\" href=\"https://hiddenshoal.bandcamp.com/album/deconstruction-manual\" target=\"_blank\"><em>Deconstruction Manual</em></a> is one this week\'s <a title=\"RTRFM\" href=\"http://rtrfm.com.au/features/\" target=\"_blank\">featured tracks</a> over at the ever wonderful RTRFM. Read more about the EP including free download info <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">here</a>.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169959513&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Doubt (Lövmark Remix) by Antonymes Featured Track at RTRFM','','inherit','closed','closed','','10930-revision-v1','','','2014-10-14 12:22:02','2014-10-14 04:22:02','',10930,'http://www.hiddenshoal.com/10930-revision-v1/',0,'revision','',0),(10931,1,'2014-10-14 12:21:41','2014-10-14 04:21:41','<img class=\"alignleft size-thumbnail wp-image-10803\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Deconstruction-Manual-Cover-Art-150x150.jpg\" alt=\"Deconstruction Manual\" width=\"150\" height=\"150\" />The beautiful remix by Lövmark of Antonymes \'Doubt\' taken from the just released EP <a title=\"Deconstruction Manual\" href=\"https://hiddenshoal.bandcamp.com/album/deconstruction-manual\" target=\"_blank\"><em>Deconstruction Manual</em></a> is one this week\'s <a title=\"RTRFM\" href=\"http://rtrfm.com.au/features/\" target=\"_blank\">featured tracks</a> over at the ever wonderful RTRFM. Read more about the EP including free download info <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">here</a>.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169959513&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Doubt (Lövmark Remix) by Antonymes Featured Track at RTRFM','','inherit','closed','closed','','10930-revision-v1','','','2014-10-14 12:21:41','2014-10-14 04:21:41','',10930,'http://www.hiddenshoal.com/10930-revision-v1/',0,'revision','',0),(10933,1,'2014-10-14 12:25:21','2014-10-14 04:25:21','The beautiful remix by Lövmark of Antonymes \'Doubt\' taken from the just released EP <a title=\"Deconstruction Manual\" href=\"https://hiddenshoal.bandcamp.com/album/deconstruction-manual\" target=\"_blank\"><em>Deconstruction Manual</em></a> is one this week\'s <a title=\"RTRFM\" href=\"http://rtrfm.com.au/features/\" target=\"_blank\">featured tracks</a> over at the ever wonderful RTRFM. Read more about the EP including free download info <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">here</a>.\n\n&nbsp;\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169959513&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Lövmark\'s Remix of Antonymes \'Doubt\' Featured Track at RTRFM','','inherit','closed','closed','','10930-autosave-v1','','','2014-10-14 12:25:21','2014-10-14 04:25:21','',10930,'http://www.hiddenshoal.com/10930-autosave-v1/',0,'revision','',0),(10934,1,'2014-10-14 12:26:04','2014-10-14 04:26:04','The beautiful remix by Lövmark of Antonymes \'Doubt\' taken from the just released EP <a title=\"Deconstruction Manual\" href=\"https://hiddenshoal.bandcamp.com/album/deconstruction-manual\" target=\"_blank\"><em>Deconstruction Manual</em></a> is one this week\'s <a title=\"RTRFM\" href=\"http://rtrfm.com.au/features/\" target=\"_blank\">featured tracks</a> over at the ever wonderful RTRFM. Read more about the EP including free download info <a title=\"Deconstruction Manual\" href=\"http://www.hiddenshoal.com/deconstruction-manual-hidden-shoal-remix-ep-featuring-antonymes-and-slow-dancing-society/\">here</a>.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/169959513&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Lövmark\'s Remix of Antonymes \'Doubt\' Featured Track at RTRFM','','inherit','closed','closed','','10930-revision-v1','','','2014-10-14 12:26:04','2014-10-14 04:26:04','',10930,'http://www.hiddenshoal.com/10930-revision-v1/',0,'revision','',0),(10935,1,'2014-10-14 17:23:28','2014-10-14 09:23:28','<img class=\"alignleft  wp-image-10524\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"Chloë March\" width=\"127\" height=\"127\" />Ahead of the re-release of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>\'s stunning full length <em>Nights Bright Days</em>, the first single lifted from the album has been getting love out there across the interweb. \'Winter Deep\' just scored a place on the latest <a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\">Fresh Faves</a> list at BBC\'s Tom Robinsons\'s Fresh On The Net blog. The track also got song of the day at the <a title=\"Guthoerenistwichtig\" href=\"http://guthoerenistwichtig.wordpress.com\" target=\"_blank\">Guthoerenistwichtig blog</a> as well as a lovely write up over at <a title=\"The Modern Folk Music of America\" href=\"http://www.themodernfolk.net/2014/10/chloe-march-winter-deep-video.html\" target=\"_blank\">The Modern Folk Music of America</a>. Here\'s a taste,\r\n\r\n<em>\"Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.\"</em> -<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>\r\n\r\nGrab your free download of the single at <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Bandcamp</a> or stream the track below via <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud</a>. <em>Nights Bright Days</em> drops on the 4th of November and comes with a bonus EP of previously un-released tracks.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','Love for Chloe March\'s \'Winter Deep\' ','','publish','closed','closed','','love-for-chloe-marchs-winter-deep','','','2016-02-03 13:46:07','2016-02-03 05:46:07','',0,'http://www.hiddenshoal.com/?p=10935',0,'post','',0),(10936,1,'2014-10-14 17:20:41','2014-10-14 09:20:41','<img class=\"alignleft size-thumbnail wp-image-10524\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"Chloë March\" width=\"150\" height=\"150\" />Ahead of the re-release of Chloë March\'s stunning full length <em>Nights Bright Days</em>, the first single lifted from the album has been getting love out there across the interweb. \'Winter Deep\' just scored a place on the latest <a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\">Fresh Faves</a> list at BBC\'s Tom Robinsons\'s Fresh On The Net blog. The track also got song of the day at the <a title=\"Guthoerenistwichtig\" href=\"http://guthoerenistwichtig.wordpress.com\" target=\"_blank\">Guthoerenistwichtig blog</a> as well as a lovely write up over at <a title=\"The Modern Folk Music of America\" href=\"http://www.themodernfolk.net/2014/10/chloe-march-winter-deep-video.html\" target=\"_blank\">The Modern Folk Music of America</a>. Here\'s a taste,\r\n\r\n<em>\"Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.\"</em> -<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>\r\n\r\nGrab your free download of the single at <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Bandcamp</a> or stream the track below via <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud</a>. <em>Nights Bright Days</em> drops on the 4th of November and comes with a bonus EP of previously un-released tracks.\r\n\r\n&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&amp;color=000000&amp;auto_play=false&amp;hide_related=true&amp;show_comments=false&amp;show_user=true&amp;show_reposts=false\"></iframe>','Love for Chloe March\'s \'Winter Deep\' ','','inherit','closed','closed','','10935-revision-v1','','','2014-10-14 17:20:41','2014-10-14 09:20:41','',10935,'http://www.hiddenshoal.com/10935-revision-v1/',0,'revision','',0),(10937,1,'2014-10-14 17:21:10','2014-10-14 09:21:10','<img class=\"alignleft  wp-image-10524\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"Chloë March\" width=\"133\" height=\"133\" />Ahead of the re-release of Chloë March\'s stunning full length <em>Nights Bright Days</em>, the first single lifted from the album has been getting love out there across the interweb. \'Winter Deep\' just scored a place on the latest <a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\">Fresh Faves</a> list at BBC\'s Tom Robinsons\'s Fresh On The Net blog. The track also got song of the day at the <a title=\"Guthoerenistwichtig\" href=\"http://guthoerenistwichtig.wordpress.com\" target=\"_blank\">Guthoerenistwichtig blog</a> as well as a lovely write up over at <a title=\"The Modern Folk Music of America\" href=\"http://www.themodernfolk.net/2014/10/chloe-march-winter-deep-video.html\" target=\"_blank\">The Modern Folk Music of America</a>. Here\'s a taste,\r\n\r\n<em>\"Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.\"</em> -<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>\r\n\r\nGrab your free download of the single at <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Bandcamp</a> or stream the track below via <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud</a>. <em>Nights Bright Days</em> drops on the 4th of November and comes with a bonus EP of previously un-released tracks.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','Love for Chloe March\'s \'Winter Deep\' ','','inherit','closed','closed','','10935-revision-v1','','','2014-10-14 17:21:10','2014-10-14 09:21:10','',10935,'http://www.hiddenshoal.com/10935-revision-v1/',0,'revision','',0),(10938,1,'2014-10-14 17:21:27','2014-10-14 09:21:27','<img class=\"alignleft  wp-image-10524\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"Chloë March\" width=\"127\" height=\"127\" />Ahead of the re-release of Chloë March\'s stunning full length <em>Nights Bright Days</em>, the first single lifted from the album has been getting love out there across the interweb. \'Winter Deep\' just scored a place on the latest <a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\">Fresh Faves</a> list at BBC\'s Tom Robinsons\'s Fresh On The Net blog. The track also got song of the day at the <a title=\"Guthoerenistwichtig\" href=\"http://guthoerenistwichtig.wordpress.com\" target=\"_blank\">Guthoerenistwichtig blog</a> as well as a lovely write up over at <a title=\"The Modern Folk Music of America\" href=\"http://www.themodernfolk.net/2014/10/chloe-march-winter-deep-video.html\" target=\"_blank\">The Modern Folk Music of America</a>. Here\'s a taste,\r\n\r\n<em>\"Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.\"</em> -<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>\r\n\r\nGrab your free download of the single at <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Bandcamp</a> or stream the track below via <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud</a>. <em>Nights Bright Days</em> drops on the 4th of November and comes with a bonus EP of previously un-released tracks.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','Love for Chloe March\'s \'Winter Deep\' ','','inherit','closed','closed','','10935-revision-v1','','','2014-10-14 17:21:27','2014-10-14 09:21:27','',10935,'http://www.hiddenshoal.com/10935-revision-v1/',0,'revision','',0),(10939,1,'2014-10-14 17:22:08','2014-10-14 09:22:08','<img class=\"alignleft  wp-image-10524\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/CM4BioPic-150x150.jpg\" alt=\"Chloë March\" width=\"127\" height=\"127\" />Ahead of the re-release of <a title=\"Chloe March\" href=\"http://www.hiddenshoal.com/project/chloe-march/\">Chloë March</a>\'s stunning full length <em>Nights Bright Days</em>, the first single lifted from the album has been getting love out there across the interweb. \'Winter Deep\' just scored a place on the latest <a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\">Fresh Faves</a> list at BBC\'s Tom Robinsons\'s Fresh On The Net blog. The track also got song of the day at the <a title=\"Guthoerenistwichtig\" href=\"http://guthoerenistwichtig.wordpress.com\" target=\"_blank\">Guthoerenistwichtig blog</a> as well as a lovely write up over at <a title=\"The Modern Folk Music of America\" href=\"http://www.themodernfolk.net/2014/10/chloe-march-winter-deep-video.html\" target=\"_blank\">The Modern Folk Music of America</a>. Here\'s a taste,\r\n\r\n<em>\"Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.\"</em> -<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>\r\n\r\nGrab your free download of the single at <a title=\"Bandcamp\" href=\"https://chloemarch.bandcamp.com/album/winter-deep\" target=\"_blank\">Bandcamp</a> or stream the track below via <a title=\"SoundCloud\" href=\"https://soundcloud.com/hidden_shoal/chloe-march-winter-deep\" target=\"_blank\">SoundCloud</a>. <em>Nights Bright Days</em> drops on the 4th of November and comes with a bonus EP of previously un-released tracks.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/170143123&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>','Love for Chloe March\'s \'Winter Deep\' ','','inherit','closed','closed','','10935-revision-v1','','','2014-10-14 17:22:08','2014-10-14 09:22:08','',10935,'http://www.hiddenshoal.com/10935-revision-v1/',0,'revision','',0),(10940,1,'2014-10-14 17:25:45','2014-10-14 09:25:45','“Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.”\r\n\r\n-<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>','Chloe March \'Winter Deep\' Review at Fresh On The Net','','publish','closed','closed','','chloe-march-winter-deep-review-at-fresh-on-the-net','','','2014-10-14 17:26:00','2014-10-14 09:26:00','',0,'http://www.hiddenshoal.com/?p=10940',0,'post','',0),(10941,1,'2014-10-14 17:25:45','2014-10-14 09:25:45','<em>“Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.”</em>\r\n\r\n-<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>','Chloe March \'Winter Deep\' Review at Fresh On The Net','','inherit','closed','closed','','10940-revision-v1','','','2014-10-14 17:25:45','2014-10-14 09:25:45','',10940,'http://www.hiddenshoal.com/10940-revision-v1/',0,'revision','',0),(10942,1,'2014-10-14 17:26:00','2014-10-14 09:26:00','“Subtle and understated is a good thing although it often takes a few listens to let the music seep in and reveal itself. Which is exactly what <strong>Chloe March</strong>‘s Winter Deep does. It got a shimmery timeless quality and is possibly not one for death metal fans on a sugar rush. However, it does sound rather like the perfect accompaniment to a cup of cocoa on a chilly winter’s night.”\r\n\r\n-<a title=\"Fresh On The Net\" href=\"http://freshonthenet.co.uk/2014/10/faves124/\" target=\"_blank\"><strong> Fresh on the Net</strong></a>','Chloe March \'Winter Deep\' Review at Fresh On The Net','','inherit','closed','closed','','10940-revision-v1','','','2014-10-14 17:26:00','2014-10-14 09:26:00','',10940,'http://www.hiddenshoal.com/10940-revision-v1/',0,'revision','',0),(10943,1,'2014-10-14 17:31:16','2014-10-14 09:31:16','\"british songstress chloe march brings stately, artsy dream-pop on \'winter deep\', the lead single from her album \'nights bright days\', receiving the re-release treatment from hidden shoal recordings this november. the song has a subdued feel, with the turmoil inherent in the lyrics bubbling below a frosty soundscape of rhythmic strings and piano and swelling synths. chloe march\'s voice has a quality of intimacy and distance held at a delicate tension, which fits the tentative step of the music.\"\r\n\r\n- <a title=\"The Modern Folk Music of America\" href=\"british%20songstress chloe march brings stately, artsy dream-pop on \'winter deep\', the lead single from her album \'nights bright days\', receiving the re-release treatment from hidden shoal recordings this november.   the song has a subdued feel, with the turmoil inherent in the lyrics bubbling below a frosty soundscape of rhythmic strings and piano and swelling synths. chloe march\'s voice has a quality of intimacy and distance held at a delicate tension, which fits the tentative step of the music.\" target=\"_blank\"><strong>The Modern Folk Music Of America</strong></a>','Chloe March \'Winter Deep\' Reviewed at The Modern Folk Music of America','','publish','closed','closed','','chloe-march-winter-deep-reviewed-at-the-modern-folk-music-of-america','','','2014-10-14 17:31:16','2014-10-14 09:31:16','',0,'http://www.hiddenshoal.com/?p=10943',0,'post','',0),(10944,1,'2014-10-14 17:31:16','2014-10-14 09:31:16','\"british songstress chloe march brings stately, artsy dream-pop on \'winter deep\', the lead single from her album \'nights bright days\', receiving the re-release treatment from hidden shoal recordings this november. the song has a subdued feel, with the turmoil inherent in the lyrics bubbling below a frosty soundscape of rhythmic strings and piano and swelling synths. chloe march\'s voice has a quality of intimacy and distance held at a delicate tension, which fits the tentative step of the music.\"\r\n\r\n- <a title=\"The Modern Folk Music of America\" href=\"british%20songstress chloe march brings stately, artsy dream-pop on \'winter deep\', the lead single from her album \'nights bright days\', receiving the re-release treatment from hidden shoal recordings this november.   the song has a subdued feel, with the turmoil inherent in the lyrics bubbling below a frosty soundscape of rhythmic strings and piano and swelling synths. chloe march\'s voice has a quality of intimacy and distance held at a delicate tension, which fits the tentative step of the music.\" target=\"_blank\"><strong>The Modern Folk Music Of America</strong></a>','Chloe March \'Winter Deep\' Reviewed at The Modern Folk Music of America','','inherit','closed','closed','','10943-revision-v1','','','2014-10-14 17:31:16','2014-10-14 09:31:16','',10943,'http://www.hiddenshoal.com/10943-revision-v1/',0,'revision','',0),(11589,1,'2014-12-26 11:57:07','2014-12-26 03:57:07','[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>Markus Mehr</h1>\r\n<img class=\"alignleft size-medium wp-image-10435\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Markus-Mehr-2014-2-300x200.jpg\" alt=\"Markus Mehr\" width=\"300\" height=\"200\" /><em>“... prepare for a shuddering, near chaotic, kaleidoscopic </em><em>experience as Mehr challenges our and his own </em><em>preconceptions of what “electronica” is, what it represents </em><em>and of what his instrumentation can achieve.”<strong> – Delusions of Adequacy</strong></em>\r\n\r\nMarkus Mehr’s debut, <em>Lava</em>, holds true to its title – it is a dense, steaming surge of glue-thick sound. But, after any destructive force there is new growth. Green shoots of melody arc out of the surface and populate the terrain as new possibilities emerge. <span class=\"_5yl5\" data-reactid=\".27.$mid=11404191394044=243362f841034556913.2:0.0.0.0.0\"><span class=\"null\">His follow-up triptych of works (<em>In</em>, <em>On</em> and <em>Off</em>) brought another level of conceptual and sonic experimentation to the table, advancing his stature in the field of contemporary experimental music.</span></span>\r\n\r\n<strong><a title=\"Facebook\" href=\"http://www.facebook.com/markus.mehr\" 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/MarkusMehr\" 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=\"http://soundcloud.com/markus-mehr\" 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.markusmehr.de/\" 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>Binary Rooms</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3445084080/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/binary-rooms\">Binary Rooms by Markus Mehr</a></iframe>\r\nOctober 2014\r\n<div></div>\r\nMehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <em>Lava</em> to some of the more intimate moments of his 42-minute single-track opus <em>Off</em>, 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\nExperimental filmmaker and Markus Mehr collaborator <a href=\"https://vimeo.com/sixtsense/videos\">Stefanie Sixt</a> has created a stunning new video work for the track \'Gymnasium/Swarms\' which can be viewed in full at <a href=\"https://vimeo.com/105644655\" rel=\"lightbox-video-0\">Vimeo.</a>\r\n<div></div>\r\n<div></div>\r\n<h4>Off</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 170px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=398032740/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/off\">Off by Markus Mehr</a></iframe>\r\nJanuary 2013\r\n<div></div>\r\n<em>Off</em>  by German experimental ambient artist Markus Mehr, is the third and final part of a trilogy that includes the critically acclaimed releases <em>In</em> and <em>On</em>.\r\n\r\n<em>Off</em>  is not only the culmination of Markus Mehr’s trilogy, but it may also be the culmination of his career’s work thus far. The single-track album begins in silence, as a thrumming loop gradually emerges. From there, a beautiful piano refrain is introduced, noise ebbs and flows, threatening to engulf the piece, while field recordings and swooningly transportive synth patterns drift into focus. During its 42-minute runtime, the piece immerses the listener in a dizzyingly beautiful soundworld that’s ever-shifting. Certain passages allude to other sequences and samples in the preceding albums, linking the three albums into a kaleidoscopic mobius strip.\r\n<div></div>\r\n<div></div>\r\n<h4>On</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2332510059/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/on\">On by Markus Mehr</a></iframe>\r\nJuly 2012\r\n<div></div>\r\nThe new album <em>On</em> by German experimental ambient artist Markus Mehr, forms the second part of a triptych that also includes recent release <em>In</em> and the forthcoming <em>Off</em>.\r\n\r\n<em>On</em> is a continuation of the experimental direction of Markus Mehr’s previous releases, with eight diverse tracks employing samples, field recordings and slathers of Mehr’s trademark distorted drones. This approach is apparent right from opener ‘Gonna Make You Mine’, as scything slashes of sound leap from the speakers. Single ‘Flaming Youth’ counterbalances fragments of static against a gorgeous sleepy-eyed loop of mangled lounge-jazz. A track as expansive and moving as ‘Duck Became Swan’ is followed by brief rhythmic piece ‘Olympia’. This tightrope walk between dizzying samples and exacting digital manipulation is walked with aplomb throughout <em>On</em>’s adventurous and thrilling 45-minute runtime.\r\n\r\n<em>On</em> is preceded by <em>In</em>, the first part of the triptych, which comprises two monumental tracks, ‘Komo’ and ‘Ostinato’, each of which clocks in at around 25 minutes, circling around and building upon hypnotic instrumental motifs. The final part of the triptych, Off, released on 24 January 2013, includes the most epic piece yet, ‘Transit’, which clocks in at 49 minutes and will be performed live in collaboration with video artist Stefanie Sixt, who created the video to Mehr’s single ‘Cousteau’.\r\n<div></div>\r\n<div></div>\r\n<h4>In</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 210px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4000928914/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/in\">In by Markus Mehr</a></iframe>\r\nJanuary 2012\r\n<div></div>\r\nMarkus Mehr follows up his stunning debut album <em>Lava</em> with three new releases released over a 12 month period. In is the first part of the triptych, comprising two monumental tracks, ‘Komo’ and ‘Ostinato’, each of which clocks in at around 25 minutes, circling around and building upon hypnotic instrumental motifs. ‘Komo’ gradually emerges from silence, its distant, filtered throb reluctantly revealing its source material – a heartbreaking string part whose emotional impact intensifies as the loop clarifies. ‘Ostinato’ is an altogether darker, gnarlier experience, its string loops chewed into distorted knots which are highlighted by treated guitars and crafted electronics.\r\n\r\nThe second part, <em>On</em>, released on 21 June 2012, takes a more experimental direction, with eight diverse tracks employing samples, field recordings and slathers of Mehr’s trademark distorted drones. And finally, <em>Off</em>, released on 24 January 2013, includes the most epic piece yet, ‘Transit’, which clocks in at 49 minutes and will be performed live in collaboration with video artist Stefanie Sixt, who created the video to Mehr’s single ‘Cousteau’.\r\n<div></div>\r\n<div></div>\r\n<h4>Lava</h4>\r\n<div></div>\r\n<iframe style=\"border: 0; width: 500px; height: 439px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=634202850/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/lava\">Lava by Markus Mehr</a></iframe>\r\nAugust 2010\r\n<div></div>\r\n<em>Lava</em> holds true to its title – it is a dense surge of glue-think sound, making new paths as it pushes through the landscape. But, after any destructive force there is new growth. Green shoots of melody arc out of the surface and populate the terrain as new possibilities emerge. A new master of heartbreaking ambient drone has arrived. These tracks evoke time spent transfixed, gazing through a giant looking glass, waiting wide-eyed as new discoveries are revealed in the album’s textured contours.\r\n\r\nOn epic opener ‘Agenda’, layers of gorgeous synth gradually accumulate into a gloriously massive chord. On single ‘Hubble’, a bedrock of fuzzed drone is decorated with glistening counter-melodies, tracing shards of light across the coal-black skies. ‘Softwar’ builds and then falls away, only to return with a spine-tingling theme that crumbles under its own majesty.\r\n\r\n<em>Lava</em>’s ability to both suspend the listener in its abstracted liquid vapours and at the same time imprint its affecting narrative is a special thing. It is one of those albums whose emotional impact stays with you long after you feel its last touch.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"Bio\"]\r\n<h3>Biography</h3>\r\nBased in Augsburg, south Germany, Markus Mehr’s musical journey began with the guitar. He grew up listening to bands like Black Sabbath and AC/DC, before turning his ears to darker sounds and the ethereal, experimental pop of David Sylvian. After recording and touring with several bands, he struck out on his own with home studio project Aroma.\r\n\r\nNow working under his own name, Mehr wrote and recorded his debut album <em>Lava</em> at his home studio using guitars and synths, plus any noise-making accoutrements at hand – electric shavers, ventilators, electric tooth brushes and field recordings –all processed and distorted to create a gorgeous wall of sound, akin to the classic ’70s Kosmische music of Klaus Schulze and Tangerine Dream, but also the contemporary masters of textured luminosity, Fennesz and Tim Hecker. His follow up albums, <em>In</em>, <em>On</em> and <em>Off </em> pushed the sonic and structural envelope even further and created a triptych of works that stands amongst the most engaging contemporary experimental music of our days.\r\n\r\nMehr’s extensive live performances across Europe include collaborations with visual artist Stefanie Sixt and performances in churches, galleries and large disused gas tanks amongst the more traditional festival shows.\r\n\r\n[/et_pb_tab][et_pb_tab title=\"News\"]\r\n\r\n&nbsp;\r\n<h3>News</h3>\r\n[catlist name=markus-mehr content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n[/et_pb_tab][et_pb_tab title=\"Reviews\"]\r\n\r\n&nbsp;\r\n<h2>Reviews</h2>\r\n[catlist name=markus-mehr-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]\r\n[/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-Markus_Mehr-Live_In_Bari.pdf\"><em>Live in Bari</em> Album Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Off.pdf\"><em>Off</em> Album Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Duck_Became_Swan.pdf\">‘Duck Became Swan’ Single Release and Music Video</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Flaming_Youth.pdf\">‘Flaming Youth’ Single Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-In.pdf\"><em>In</em> Album Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Cousteau.pdf\">‘Cousteau’ Single Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Lava_Digital_Release.pdf\"><em>Lava</em> Album Digital Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Hubble_Single.pdf\">‘Hubble’ Single Release</a>\r\n\r\n<a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Signing.pdf\">Markus Mehr Signs to Hidden Shoal</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=\"10433,10435,9020,9021,9022,9023,9024,9025,9019\"]\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/dGRCY37hMm4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"//www.youtube.com/embed/PcfMLHZZomw?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>\r\n\r\n<iframe src=\"//www.youtube.com/embed/1jIYi486n0c?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\nMarkus Mehr\'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]','Markus Mehr','','inherit','closed','closed','','9007-revision-v1','','','2014-12-26 11:57:07','2014-12-26 03:57:07','',9007,'http://www.hiddenshoal.com/9007-revision-v1/',0,'revision','',0),(10945,1,'2014-10-14 23:00:10','2014-10-14 15:00:10','[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>Markus Mehr</h1><p><img class=\"alignleft size-medium wp-image-10435\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/07/Markus-Mehr-2014-2-300x200.jpg\" alt=\"Markus Mehr\" width=\"300\" height=\"200\" /><em>“... prepare for a shuddering, near chaotic, kaleidoscopic </em><em>experience as Mehr challenges our and his own </em><em>preconceptions of what “electronica” is, what it represents </em><em>and of what his instrumentation can achieve.”<strong> – Delusions of Adequacy</strong></em></p><p>Markus Mehr’s debut, <em>Lava</em>, holds true to its title – it is a dense, steaming surge of glue-thick sound. But, after any destructive force there is new growth. Green shoots of melody arc out of the surface and populate the terrain as new possibilities emerge. <span class=\"_5yl5\" data-reactid=\".27.$mid=11404191394044=243362f841034556913.2:0.0.0.0.0\"><span class=\"null\">His follow-up triptych of works (<em>In</em>, <em>On</em> and <em>Off</em>) brought another level of conceptual and sonic experimentation to the table, advancing his stature in the field of contemporary experimental music.</span></span></p><p><strong><a title=\"Facebook\" href=\"http://www.facebook.com/markus.mehr\" 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/MarkusMehr\" 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=\"http://soundcloud.com/markus-mehr\" 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.markusmehr.de/\" 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>Binary Rooms</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3445084080/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/binary-rooms\">Binary Rooms by Markus Mehr</a></iframe><br /> October 2014</p><div> </div><p>Mehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <em>Lava</em> to some of the more intimate moments of his 42-minute single-track opus <em>Off</em>, 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.</p><p>Experimental filmmaker and Markus Mehr collaborator <a href=\"https://vimeo.com/sixtsense/videos\">Stefanie Sixt</a> has created a stunning new video work for the track \'Gymnasium/Swarms\' which can be viewed in full at <a href=\"https://vimeo.com/105644655\" rel=\"lightbox-video-0\">Vimeo.</a></p><div> </div><div> </div><h4>Off</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 170px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=398032740/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/off\">Off by Markus Mehr</a></iframe><br /> January 2013</p><div> </div><p><em>Off</em>  by German experimental ambient artist Markus Mehr, is the third and final part of a trilogy that includes the critically acclaimed releases <em>In</em> and <em>On</em>.</p><p><em>Off</em>  is not only the culmination of Markus Mehr’s trilogy, but it may also be the culmination of his career’s work thus far. The single-track album begins in silence, as a thrumming loop gradually emerges. From there, a beautiful piano refrain is introduced, noise ebbs and flows, threatening to engulf the piece, while field recordings and swooningly transportive synth patterns drift into focus. During its 42-minute runtime, the piece immerses the listener in a dizzyingly beautiful soundworld that’s ever-shifting. Certain passages allude to other sequences and samples in the preceding albums, linking the three albums into a kaleidoscopic mobius strip.</p><div> </div><div> </div><h4>On</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 406px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=2332510059/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/on\">On by Markus Mehr</a></iframe><br /> July 2012</p><div> </div><p>The new album <em>On</em> by German experimental ambient artist Markus Mehr, forms the second part of a triptych that also includes recent release <em>In</em> and the forthcoming <em>Off</em>.</p><p><em>On</em> is a continuation of the experimental direction of Markus Mehr’s previous releases, with eight diverse tracks employing samples, field recordings and slathers of Mehr’s trademark distorted drones. This approach is apparent right from opener ‘Gonna Make You Mine’, as scything slashes of sound leap from the speakers. Single ‘Flaming Youth’ counterbalances fragments of static against a gorgeous sleepy-eyed loop of mangled lounge-jazz. A track as expansive and moving as ‘Duck Became Swan’ is followed by brief rhythmic piece ‘Olympia’. This tightrope walk between dizzying samples and exacting digital manipulation is walked with aplomb throughout <em>On</em>’s adventurous and thrilling 45-minute runtime.</p><p><em>On</em> is preceded by <em>In</em>, the first part of the triptych, which comprises two monumental tracks, ‘Komo’ and ‘Ostinato’, each of which clocks in at around 25 minutes, circling around and building upon hypnotic instrumental motifs. The final part of the triptych, Off, released on 24 January 2013, includes the most epic piece yet, ‘Transit’, which clocks in at 49 minutes and will be performed live in collaboration with video artist Stefanie Sixt, who created the video to Mehr’s single ‘Cousteau’.</p><div> </div><div> </div><h4>In</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 210px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=4000928914/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/in\">In by Markus Mehr</a></iframe><br /> January 2012</p><div> </div><p>Markus Mehr follows up his stunning debut album <em>Lava</em> with three new releases released over a 12 month period. In is the first part of the triptych, comprising two monumental tracks, ‘Komo’ and ‘Ostinato’, each of which clocks in at around 25 minutes, circling around and building upon hypnotic instrumental motifs. ‘Komo’ gradually emerges from silence, its distant, filtered throb reluctantly revealing its source material – a heartbreaking string part whose emotional impact intensifies as the loop clarifies. ‘Ostinato’ is an altogether darker, gnarlier experience, its string loops chewed into distorted knots which are highlighted by treated guitars and crafted electronics.</p><p>The second part, <em>On</em>, released on 21 June 2012, takes a more experimental direction, with eight diverse tracks employing samples, field recordings and slathers of Mehr’s trademark distorted drones. And finally, <em>Off</em>, released on 24 January 2013, includes the most epic piece yet, ‘Transit’, which clocks in at 49 minutes and will be performed live in collaboration with video artist Stefanie Sixt, who created the video to Mehr’s single ‘Cousteau’.</p><div> </div><div> </div><h4>Lava</h4><div> </div><p><iframe style=\"border: 0; width: 500px; height: 439px;\" src=\"http://bandcamp.com/EmbeddedPlayer/album=634202850/size=large/bgcol=333333/linkcol=ffffff/artwork=small/transparent=true/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http://markusmehr.bandcamp.com/album/lava\">Lava by Markus Mehr</a></iframe><br /> August 2010</p><div> </div><p><em>Lava</em> holds true to its title – it is a dense surge of glue-think sound, making new paths as it pushes through the landscape. But, after any destructive force there is new growth. Green shoots of melody arc out of the surface and populate the terrain as new possibilities emerge. A new master of heartbreaking ambient drone has arrived. These tracks evoke time spent transfixed, gazing through a giant looking glass, waiting wide-eyed as new discoveries are revealed in the album’s textured contours.</p><p>On epic opener ‘Agenda’, layers of gorgeous synth gradually accumulate into a gloriously massive chord. On single ‘Hubble’, a bedrock of fuzzed drone is decorated with glistening counter-melodies, tracing shards of light across the coal-black skies. ‘Softwar’ builds and then falls away, only to return with a spine-tingling theme that crumbles under its own majesty.</p><p><em>Lava</em>’s ability to both suspend the listener in its abstracted liquid vapours and at the same time imprint its affecting narrative is a special thing. It is one of those albums whose emotional impact stays with you long after you feel its last touch.</p>[/et_pb_tab][et_pb_tab title=\"Bio\"]<h3>Biography</h3><p>Based in Augsburg, south Germany, Markus Mehr’s musical journey began with the guitar. He grew up listening to bands like Black Sabbath and AC/DC, before turning his ears to darker sounds and the ethereal, experimental pop of David Sylvian. After recording and touring with several bands, he struck out on his own with home studio project Aroma.</p><p>Now working under his own name, Mehr wrote and recorded his debut album <em>Lava</em> at his home studio using guitars and synths, plus any noise-making accoutrements at hand – electric shavers, ventilators, electric tooth brushes and field recordings –all processed and distorted to create a gorgeous wall of sound, akin to the classic ’70s Kosmische music of Klaus Schulze and Tangerine Dream, but also the contemporary masters of textured luminosity, Fennesz and Tim Hecker. His follow up albums, <em>In</em>, <em>On</em> and <em>Off </em> pushed the sonic and structural envelope even further and created a triptych of works that stands amongst the most engaging contemporary experimental music of our days.</p><p>Mehr’s extensive live performances across Europe include collaborations with visual artist Stefanie Sixt and performances in churches, galleries and large disused gas tanks amongst the more traditional festival shows.</p>[/et_pb_tab][et_pb_tab title=\"News\"]<p> </p><h3>News</h3>[catlist name=markus-mehr content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Reviews\"]<p> </p><h2>Reviews</h2>[catlist name=markus-mehr-reviews content=yes pagination=no title_tag=h4 title_class=lcp_title]<br /> [/et_pb_tab][et_pb_tab title=\"Press Releases\"]<h3>Press Releases</h3><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Live_In_Bari.pdf\"><em>Live in Bari</em> Album Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Off.pdf\"><em>Off</em> Album Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Duck_Became_Swan.pdf\">‘Duck Became Swan’ Single Release and Music Video</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-Flaming_Youth.pdf\">‘Flaming Youth’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr-In.pdf\"><em>In</em> Album Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Cousteau.pdf\">‘Cousteau’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Lava_Digital_Release.pdf\"><em>Lava</em> Album Digital Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Hubble_Single.pdf\">‘Hubble’ Single Release</a></p><p><a href=\"../../publicity/press-releases/HSR_Press_Release-Markus_Mehr_Signing.pdf\">Markus Mehr Signs to Hidden Shoal</a></p>[/et_pb_tab][et_pb_tab title=\"Gallery\"]<h3>Artist Photos</h3><p> </p>[gallery ids=\"10433,10435,9020,9021,9022,9023,9024,9025,9019\"][/et_pb_tab][et_pb_tab title=\"Video\"]<h3>Music Videos</h3><p><iframe src=\"//www.youtube.com/embed/dGRCY37hMm4?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p><iframe src=\"//www.youtube.com/embed/PcfMLHZZomw?rel=0\" width=\"420\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p><p><iframe src=\"//www.youtube.com/embed/1jIYi486n0c?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe></p>[/et_pb_tab][et_pb_tab title=\"Licensing\"]<h3>Licensing</h3><p>Markus Mehr\'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]','Markus Mehr','','inherit','closed','closed','','9007-revision-v1','','','2014-10-14 23:00:10','2014-10-14 15:00:10','',9007,'http://www.hiddenshoal.com/9007-revision-v1/',0,'revision','',0),(10946,1,'2014-10-15 10:59:47','2014-10-15 02:59:47','<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','','publish','closed','closed','','markus-mehrs-binary-rooms-now-available','','','2016-02-03 16:48:37','2016-02-03 08:48:37','',0,'http://www.hiddenshoal.com/?p=10946',0,'post','',0),(10947,1,'2014-10-15 10:45:38','2014-10-15 02:45:38','We\'re excited to announce that<a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\"> Markus Mehr</a>\'s brilliant new album <em>Binary Rooms</em> is now officially available. The album is available in all digital formats and as a limited edition CD. Head <a title=\"Binary Rooms\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a> for stream and purchase info.\r\n\r\nMehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <em>Lava</em> to some of the more intimate moments of his 42-minute single-track opus <em>Off</em>, 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 a new 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&nbsp;\r\n<iframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" 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\"></iframe>','Markus Mehr\'s \"Binary Rooms\" Out Now!','','inherit','closed','closed','','10946-revision-v1','','','2014-10-15 10:45:38','2014-10-15 02:45:38','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10948,1,'2014-10-15 10:46:23','2014-10-15 02:46:23','<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<a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\"> Markus Mehr</a>\'s brilliant new album <em>Binary Rooms</em> is now officially available. The album is available in all digital formats and as a limited edition CD. Head <a title=\"Binary Rooms\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a> for stream and purchase info.\r\n\r\nMehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <em>Lava</em> to some of the more intimate moments of his 42-minute single-track opus <em>Off</em>, 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 a new 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<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\" Out Now!','','inherit','closed','closed','','10946-revision-v1','','','2014-10-15 10:46:23','2014-10-15 02:46:23','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10949,1,'2014-10-15 10:46:39','2014-10-15 02:46:39','<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<a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\"> Markus Mehr</a>\'s brilliant new album <em>Binary Rooms</em> is now officially available. The album is available in all digital formats and as a limited edition CD. Head <a title=\"Binary Rooms\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\">here</a> for stream and purchase info.\r\n\r\nMehr’s work has seen a subtle shift in scale across his five studio albums. From the widescreen cosmic vistas of <em>Lava</em> to some of the more intimate moments of his 42-minute single-track opus <em>Off</em>, 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<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\" Out Now!','','inherit','closed','closed','','10946-revision-v1','','','2014-10-15 10:46:39','2014-10-15 02:46:39','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10950,1,'2014-10-15 10:50:40','2014-10-15 02:50:40','<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<a title=\"Markus Mehr\" href=\"http://www.hiddenshoal.com/project/markus-mehr/\"> Markus Mehr</a>\'s brilliant new album <a title=\"Binary Rooms\" href=\"https://markusmehr.bandcamp.com/album/binary-rooms\" target=\"_blank\"><em>Binary Rooms</em></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.\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<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\" Out Now!','','inherit','closed','closed','','10946-revision-v1','','','2014-10-15 10:50:40','2014-10-15 02:50:40','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10951,1,'2014-10-15 10:58:56','2014-10-15 02:58:56','<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 Room</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 Hidden Shoal licensing catalogue, 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 10:58:56','2014-10-15 02:58:56','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10952,1,'2014-10-15 10:59:47','2014-10-15 02:59:47','<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 Room</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 10:59:47','2014-10-15 02:59:47','',10946,'http://www.hiddenshoal.com/10946-revision-v1/',0,'revision','',0),(10953,1,'2014-10-15 11:02:15','2014-10-15 03:02:15','<img class=\"alignleft  wp-image-10297\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"285\" height=\"191\" />Hidden Shoal is proud to announce the release of the stunning new EP <em>In Between</em> by German artist <a title=\"Kryshe\" href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a>. The EP is available now via Kryshe\'s <a title=\"Bandcamp\" href=\"https://kryshe.bandcamp.com/album/in-between\" target=\"_blank\">Bandcamp</a> along with the freely downloadable track \'Africa\'. <em>In Between</em> is also now part of the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing catalogue</a>.\r\n\r\nAs its name suggests, <em>In Between</em> lives and breathes in the spaces around each carefully played note. This exquisitely subtle and detailed five-track EP resonates with chilly grandeur and heartening warmth. Across spacious vistas reminiscent of the collaborative work of Brian Eno and Harold Budd, delicate yet assured melodies unfurl before being subjected to delicate manipulation. This is enveloping, minimal music with a fragility that belies its emotional potency.\r\n\r\nOpening with the shimmering piano melodies and tape-chewed ambience of the majestic title track, with detours via the angelic music-box miniature ‘Iceland’ and the glitch-scarred sustain-scapes of ‘Africa’, and concluding with the achingly melancholic ‘Lullaby’, <em>In Between</em> is a perfectly formed release that announces an understated new ambient craftsman.\r\n\r\n<em>\"Pressed with the poise and steeled with the atmospheric tenderness of Antonymes and softly coaxed by the delicately yearn of Vini Reilly this gem provides one of those rare occasional moments which once veered into earshot has jaws dropped agape and clocks literally frozen still.\"</em> - <a title=\"The Sunday Experience\" href=\"https://marklosingtoday.wordpress.com/2014/09/17/kryshe/\" target=\"_blank\"><strong>The Sunday Experience</strong> </a>\r\n\r\nBe sure to get your ears in front of this as it really is something special.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/165006977&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>','Kryshe\'s \"In Between\" Out Now!','','inherit','closed','closed','','10772-revision-v1','','','2014-10-15 11:02:15','2014-10-15 03:02:15','',10772,'http://www.hiddenshoal.com/10772-revision-v1/',0,'revision','',0),(10954,1,'2014-10-15 11:34:49','2014-10-15 03:34:49','<img class=\"alignright wp-image-10715\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Revolving-Maze-Front-Cover-300x300.jpg\" alt=\"Revolving Maze\" width=\"218\" height=\"218\" />We\'re super excited to announce the release of <a title=\"Revolving Maze\" href=\"http://www.hiddenshoal.com/project/involved/\"><em>Revolving Maze</em></a>, the debut album by electronic duo <a title=\"Involved\" href=\"http://www.hiddenshoal.com/project/involved/\">Involved</a>. We\'ve been spinning this album non-stop since we first got sent the demos so it\'s wonderful to finally be able to share it. The album also joins the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing</a> catalogue, available for film, tv, web and games productions.\n\nThe album fuses the psychedelic sounds of ’70s kosmische with ’80s electronic and more modern ambient styles, creating evocative, cinematic music. However, rather than being revisionist, Involved curate fresh sounds from a musical palette that spans 40 years. Lush synth tones are deployed with an innate sense of melody, leading the listener through widescreen narratives of enviable scope. With <em>Revolving Maze</em>, the title says it all: this is complex, engrossing music that transforms with each spin.\n\n<em>\"Through solid musicianship, on both the parts of Dorsey and Enoignor, Involved has breached new ground. Their skilled playing and production paired with an immensely imaginative vision translated into fifty minutes of music that seems designed to find that beautiful put into each of us.\"</em> - <a title=\"Lady Obscure\" href=\"http://www.ladyobscure.com\" target=\"_blank\"><strong>Lady Obscure</strong></a>\n<div id=\"stcpDiv\" style=\"position: absolute; top: -1999px; left: -1988px;\">Through solid musicianship, on both the parts of Dorsey and Enoignor, Involved has breached new ground. Their skilled playing and production paired with an immensely imaginative vision translated into fifty minutes of music that seems designed to find that beautiful put into each of us. - See more at: http://www.ladyobscure.com/albums/involved-revolving-maze/#sthash.95ZwFqbY.dpuf</div>\nHead to <a title=\"Bandcamp\" href=\"http://involved.bandcamp.com/\" target=\"_blank\">Involved\'s Bandcamp</a> to scoop yourself a copy of this stunning album right now. The album will also be available via iTunes, Amazon, eMusic and the other usual outlets in a few weeks.\n\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/168390536&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>','Involved\'s \"Revolving Maze\" Out Now!','','inherit','closed','closed','','10712-autosave-v1','','','2014-10-15 11:34:49','2014-10-15 03:34:49','',10712,'http://www.hiddenshoal.com/10712-autosave-v1/',0,'revision','',0),(10955,1,'2014-10-15 11:35:10','2014-10-15 03:35:10','<img class=\"alignright wp-image-10715\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/09/Revolving-Maze-Front-Cover-300x300.jpg\" alt=\"Revolving Maze\" width=\"218\" height=\"218\" />We\'re super excited to announce the release of <a title=\"Revolving Maze\" href=\"http://www.hiddenshoal.com/project/involved/\"><em>Revolving Maze</em></a>, the debut album by electronic duo <a title=\"Involved\" href=\"http://www.hiddenshoal.com/project/involved/\">Involved</a>. We\'ve been spinning this album non-stop since we first got sent the demos so it\'s wonderful to finally be able to share it. The album also joins the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing</a> catalogue, available for film, tv, web and games productions.\r\n\r\nThe album fuses the psychedelic sounds of ’70s kosmische with ’80s electronic and more modern ambient styles, creating evocative, cinematic music. However, rather than being revisionist, Involved curate fresh sounds from a musical palette that spans 40 years. Lush synth tones are deployed with an innate sense of melody, leading the listener through widescreen narratives of enviable scope. With <em>Revolving Maze</em>, the title says it all: this is complex, engrossing music that transforms with each spin.\r\n\r\n<em>\"Through solid musicianship, on both the parts of Dorsey and Enoignor, Involved has breached new ground. Their skilled playing and production paired with an immensely imaginative vision translated into fifty minutes of music that seems designed to find that beautiful put into each of us.\"</em> - <a title=\"Lady Obscure\" href=\"http://www.ladyobscure.com\" target=\"_blank\"><strong>Lady Obscure</strong></a>\r\n<div id=\"stcpDiv\" style=\"position: absolute; top: -1999px; left: -1988px;\">Through solid musicianship, on both the parts of Dorsey and Enoignor, Involved has breached new ground. Their skilled playing and production paired with an immensely imaginative vision translated into fifty minutes of music that seems designed to find that beautiful put into each of us. - See more at: http://www.ladyobscure.com/albums/involved-revolving-maze/#sthash.95ZwFqbY.dpuf</div>\r\nHead to <a title=\"Bandcamp\" href=\"http://involved.bandcamp.com/\" target=\"_blank\">Involved\'s Bandcamp</a> to scoop yourself a copy of this stunning album right now. The album will also be available via iTunes, Amazon, eMusic and the other usual outlets in a few weeks.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/168390536&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>','Involved\'s \"Revolving Maze\" Out Now!','','inherit','closed','closed','','10712-revision-v1','','','2014-10-15 11:35:10','2014-10-15 03:35:10','',10712,'http://www.hiddenshoal.com/10712-revision-v1/',0,'revision','',0),(10956,1,'2014-10-15 11:37:32','2014-10-15 03:37:32','<img class=\"alignleft size-full wp-image-10174\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Positive-Haywires-Front-Cover-200px.jpg\" alt=\"Positive Haywires\" width=\"200\" height=\"200\" />Hidden Shoal is proud to announce the release of <a title=\"Bandcamp\" href=\"https://brotherearth.bandcamp.com/\" target=\"_blank\"><i>Positive Haywires</i></a> by American duo <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>. To coincide with the release we also have another treat for you in the form of a new music video for the fantastic album track \'<a title=\"Planet Wednesday Music Video\" href=\"http://youtu.be/ifa8_ULUrbo\" target=\"_blank\">Planet Wednesday</a>\'. <em>Positive Haywires</em> also\n\nBrother Earth brings together the formidable talents of multi-instrumentalist <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a> (Circus Devils) and vocalist Steve Five (The Library is on Fire). On this their debut album for Hidden Shoal Brother Earth\'s shadowy, kaleidoscopic music vacillates between brooding textural pieces and exuberant rock-and-roll at the drop of a hat, chasing the ghosts of pop music past into a hall of cracked mirrors. The album’s wonderfully elastic aesthetics shift from dark and broken to sunny and playful in a matter of songs, while maintaining their own warped and beautiful logic. The album features the previously released singles \'<a title=\"Out Like a Lion\" href=\"https://brotherearth.bandcamp.com/track/out-like-a-lion-2\" target=\"_blank\">Out Like a Lion</a>\' and \'<a title=\"City of Gold\" href=\"https://brotherearth.bandcamp.com/track/city-of-gold-2\" target=\"_blank\">City of Gold</a>\'.\n\n<em>\"It’s surprising and experimental, and quite beautiful.”</em> - <strong>Backseat Mafia on \'Out Like a Lion\'</strong>\n\nThe album is available now on CD, limited edition cassette and digital formats via Brother Earth\'s <a href=\"https://brotherearth.bandcamp.com/\">Bandcamp page</a>.\n\n<iframe src=\"//www.youtube.com/embed/ifa8_ULUrbo?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Brother Earth \"Positive Haywires\" Out Now!','','inherit','closed','closed','','10682-autosave-v1','','','2014-10-15 11:37:32','2014-10-15 03:37:32','',10682,'http://www.hiddenshoal.com/10682-autosave-v1/',0,'revision','',0),(10957,1,'2014-10-15 11:39:13','2014-10-15 03:39:13','<img class=\"alignleft size-full wp-image-10174\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Positive-Haywires-Front-Cover-200px.jpg\" alt=\"Positive Haywires\" width=\"200\" height=\"200\" />Hidden Shoal is proud to announce the release of <a title=\"Bandcamp\" href=\"https://brotherearth.bandcamp.com/\" target=\"_blank\"><i>Positive Haywires</i></a> by American duo <a title=\"Brother Earth\" href=\"http://www.hiddenshoal.com/project/brother-earth/\">Brother Earth</a>. To coincide with the release we also have another treat for you in the form of a new music video for the fantastic album track \'<a title=\"Planet Wednesday Music Video\" href=\"http://youtu.be/ifa8_ULUrbo\" target=\"_blank\">Planet Wednesday</a>\'. <em>Positive Haywires</em> is also now part of the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing</a> catalogue and is available for all film, tv, web and games projects.\r\n\r\nBrother Earth brings together the formidable talents of multi-instrumentalist <a title=\"Todd Tobias\" href=\"http://www.hiddenshoal.com/project/todd-tobias/\">Todd Tobias</a> (Circus Devils) and vocalist Steve Five (The Library is on Fire). On this their debut album for Hidden Shoal Brother Earth\'s shadowy, kaleidoscopic music vacillates between brooding textural pieces and exuberant rock-and-roll at the drop of a hat, chasing the ghosts of pop music past into a hall of cracked mirrors. The album’s wonderfully elastic aesthetics shift from dark and broken to sunny and playful in a matter of songs, while maintaining their own warped and beautiful logic. The album features the previously released singles \'<a title=\"Out Like a Lion\" href=\"https://brotherearth.bandcamp.com/track/out-like-a-lion-2\" target=\"_blank\">Out Like a Lion</a>\' and \'<a title=\"City of Gold\" href=\"https://brotherearth.bandcamp.com/track/city-of-gold-2\" target=\"_blank\">City of Gold</a>\'.\r\n\r\n<em>\"It’s surprising and experimental, and quite beautiful.”</em> - <strong>Backseat Mafia on \'Out Like a Lion\'</strong>\r\n\r\nThe album is available now on CD, limited edition cassette and digital formats via Brother Earth\'s <a href=\"https://brotherearth.bandcamp.com/\">Bandcamp page</a>.\r\n\r\n<iframe src=\"//www.youtube.com/embed/ifa8_ULUrbo?rel=0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"></iframe>','Brother Earth \"Positive Haywires\" Out Now!','','inherit','closed','closed','','10682-revision-v1','','','2014-10-15 11:39:13','2014-10-15 03:39:13','',10682,'http://www.hiddenshoal.com/10682-revision-v1/',0,'revision','',0),(10958,1,'2014-10-15 11:41:12','2014-10-15 03:41:12','<img class=\"alignleft\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"300\" height=\"201\" />\n\nWe have some very exciting news to share, with two new wonderful artists joining the Hidden Shoal family!\n\nPerth-based producer and musician Al Smith, working under the <a href=\"http://www.hiddenshoal.com/project/draliensmith/\">DrAlienSmith</a> moniker, has signed a publishing deal for his brilliant 4 track EP <a href=\"http://draliensmith.bandcamp.com/album/under-songs\"><i>Under Songs</i></a><i>, </i>a monolithic slab of doom/shoegaze/post-rock. Smith’s other life sees him mixing and mastering other people’s recordings at Bergerk! Studios, and over the last 15 years he’s worked with more than 300 bands, including The Devil Rides Out, Drowning Horse, Abbe May, Eleventh He Reaches London, Claim The Throne and Extortion, as well as Hidden Shoal’s own <a href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a>. Check out the EP and more on DrAlienSmith <a href=\"http://www.hiddenshoal.com/project/draliensmith/\">here</a>.\n\nAt the other end of the sonic spectrum and a hemisphere away we have Germany-based ambient experimental musician <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> (Christian Grothe). The stunning <i>In Between</i> EP will be released through Hidden Shoal on 25th September, as well as being added to the Hidden Shoal publishing catalogue. Kryshe’s exquisitely subtle and detailed ambient work is reminiscent of the collaborative work of Eno and Budd, as delicate yet assured melodies unfurl before being subjected to delicate manipulation. Read more about Kryshe <a href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a> and be sure to sign up to the <a href=\"http://www.hiddenshoal.com/subscribe-to-our-mailing-list/\">Hidden Shoal mailing list</a> to be informed of the EP release.\n\nBoth <em>In Between</em> and <em>Under Songs</em> will joing the Hidden Shoal licensing catalogue for all film, tv, games a\n\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163215033&amp;color=000000&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>','DrAlienSmith and Kryshe Sign to Hidden Shoal','','inherit','closed','closed','','10351-autosave-v1','','','2014-10-15 11:41:12','2014-10-15 03:41:12','',10351,'http://www.hiddenshoal.com/10351-autosave-v1/',0,'revision','',0),(10959,1,'2014-10-15 11:42:56','2014-10-15 03:42:56','<img class=\"alignleft\" src=\"http://www.hiddenshoal.com/wp-content/uploads/2014/08/Kryshe-1-300x201.jpg\" alt=\"Kryshe\" width=\"300\" height=\"201\" />\r\n\r\nWe have some very exciting news to share, with two new wonderful artists joining the Hidden Shoal family!\r\n\r\nPerth-based producer and musician Al Smith, working under the <a href=\"http://www.hiddenshoal.com/project/draliensmith/\">DrAlienSmith</a> moniker, has signed a publishing deal for his brilliant 4 track EP <a href=\"http://draliensmith.bandcamp.com/album/under-songs\"><i>Under Songs</i></a><i>, </i>a monolithic slab of doom/shoegaze/post-rock. Smith’s other life sees him mixing and mastering other people’s recordings at Bergerk! Studios, and over the last 15 years he’s worked with more than 300 bands, including The Devil Rides Out, Drowning Horse, Abbe May, Eleventh He Reaches London, Claim The Throne and Extortion, as well as Hidden Shoal’s own <a href=\"http://www.hiddenshoal.com/project/tangled-star/\">Tangled Star</a>. Check out the EP and more on DrAlienSmith <a href=\"http://www.hiddenshoal.com/project/draliensmith/\">here</a>.\r\n\r\nAt the other end of the sonic spectrum and a hemisphere away we have Germany-based ambient experimental musician <a href=\"http://www.hiddenshoal.com/project/kryshe/\">Kryshe</a> (Christian Grothe). The stunning <i>In Between</i> EP will be released through Hidden Shoal on 25th September, as well as being added to the Hidden Shoal publishing catalogue. Kryshe’s exquisitely subtle and detailed ambient work is reminiscent of the collaborative work of Eno and Budd, as delicate yet assured melodies unfurl before being subjected to delicate manipulation. Read more about Kryshe <a href=\"http://www.hiddenshoal.com/project/kryshe/\">here</a> and be sure to sign up to the <a href=\"http://www.hiddenshoal.com/subscribe-to-our-mailing-list/\">Hidden Shoal mailing list</a> to be informed of the EP release.\r\n\r\nBoth <em>In Between</em> and <em>Under Songs</em> will also join the <a title=\"Hidden Shoal Licensing\" href=\"http://www.hiddenshoal.com/licensing/\">Hidden Shoal licensing catalogue</a> and be available for all film, tv, games and web projects.\r\n\r\n<iframe src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/163215033&amp;color=000000&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>','DrAlienSmith and Kryshe Sign to Hidden Shoal','','inherit','closed','closed','','10351-revision-v1','','','2014-10-15 11:42:56','2014-10-15 03:42:56','',10351,'http://www.hiddenshoal.com/10351-revision-v1/',0,'revision','',0),