7.5/10
Eric Quach and Jon Atwood have a lot in common: a love for guitar drones and soundscapes, a hunger for making music in their every breathing moment (nearly a hundred releases between the two of them) and an apparent disregard for that long horizontal button on the keyboard that we feeble mortals refer to as a “space bar”. Another similarity is that both are avid collaboration fans, so perhaps this collaboration - as the case is with the album's subject matter – was an inevitability.
The topic of death has been handled in all its forms and varying perspectives by artists, scientists and religious scholars alike. The subject has puzzled and awed humans as far as humanity has existed. It has been viewed as a passage to a different life, a temporary residence for the eternal soul, and simply as the end, the final full stop on the page of life. The thought of death provokes a multitude of mixed emotions: in some, a fear of the unknown, in others, a sense of eternal peace.
Drone music, when done right, has the ability to translate the friction between various contradictory feelings. It has the ability to lead the listener through an intended stream of thought to varying tangential routes determined by mood, personality, life philosophy and upbringing. This album succeeds in forcing this solemn state of mind onto the listener."Sand" starts slowly with a measured progression, bringing to mind Leah Buckareff's drop tuned bass sound and note choices for Nadja. This ensures the listener that this collaboration will yield much different results than either artist's previous works. In reality, neither artist is going totally out of his musical comfort zone; it is more of a compromise on the part of each to make the other's effort shine. Thisquietarmy's heavily abrasive sounds are trimmed down, while yellow6's reverb laden dreamy guitar appears a bit less dreamy, which makes the narrative all the more strong.
This becomes most apparent in the last track, “Salt”, which fills the entirety of the LP’s second side. The track is the best window into both artist's death perspective. Sadness and mourning are there, but one can't help but notice a romantic side. There's a sense that with every step taken back to try to avoid the inevitable, one is taken forward in an effort to discover that vast unknown. In this case, the metaphor used for the immeasurable emptiness of death is that of being stranded alone in the desert. This apt comparison is expertly executed with the aid of Dirk Serries' (VidnaObmana and Fear Falls Burning); his mastering skills help the songs to gel together perfectly.
Proficient might be the key word here. The album doesn't stray far from either artist's established sound, and their experimental willingness seems a bit absent. This is probably why this album doesn't yield the fantastic results of Quach's previous efforts with Aidan Baker and Scott Cortez. Quach and Atwood have already announced that this is the first of two releases they'll be doing together, and this is definitely a good sign. Let's hope they push more boundaries on the next one.-
Mohammed Ashraf
PS. As I was writing this, the light in the hotel I’m staying in went out entirely. I’m left with the music and only the light from my laptop. I would definitely recommend listening to this album in that state; just adds a whole new level to everything.
Monday, 14 February 2011
Sunday, 13 February 2011
gig date update
a few small updates to the forthcoming gigs....
Feb 26
yellow6 + when day chokes the night
plane Ari Home gigs
concerts à la maison à WANQUETIN ( près d'Arras)
concert privé, réservation obligatoire / contact: indiesociable@free.fr
(reservation obligatory - email indiesociable@free.fr )
Feb 27
Tonefloat Festival
paradox ,Telegraafstraat 62, 5038 BM – Tilburg, Netherlands
ron geesin / the use of ashes / astralasia / march / sand snowman / the sleep of reason
http://tonefloatrecords.blogspot.com/
Feb 28
Aucan / Yellow6
la zone, Liege
address : La Zone asbl, 27 Rue Méan, B-4020 Liège
http://www.lazone.be/
Mar 02
Yellow6 / Nuage Nuage
le monde moderne, Lille
12 Rue des Trois Couronnes59000 Lille, France
Mar 03
Yellow6 / Le Vehicule
Espace B, Paris
16 Rue Barbanègre 75019 Paris, France
Mar 04
cancelled (working on an alternative)
Mar 05
Live Looping Festival
Arenberg Schouwburg
Arenbergstraat 28, Antwerpen, Belgium
Theo Travis, Aidan Baker, Premonition Factory, Kunst4life, Simeon Harris, Yellow6.
http://livelooping.be/
and some fliers:
Feb 26
yellow6 + when day chokes the night
plane Ari Home gigs
concerts à la maison à WANQUETIN ( près d'Arras)
concert privé, réservation obligatoire / contact: indiesociable@free.fr
(reservation obligatory - email indiesociable@free.fr )
Feb 27
Tonefloat Festival
paradox ,Telegraafstraat 62, 5038 BM – Tilburg, Netherlands
ron geesin / the use of ashes / astralasia / march / sand snowman / the sleep of reason
http://tonefloatrecords.blogspot.com/
Feb 28
Aucan / Yellow6
la zone, Liege
address : La Zone asbl, 27 Rue Méan, B-4020 Liège
http://www.lazone.be/
Mar 02
Yellow6 / Nuage Nuage
le monde moderne, Lille
12 Rue des Trois Couronnes59000 Lille, France
Mar 03
Yellow6 / Le Vehicule
Espace B, Paris
16 Rue Barbanègre 75019 Paris, France
Mar 04
cancelled (working on an alternative)
Mar 05
Live Looping Festival
Arenberg Schouwburg
Arenbergstraat 28, Antwerpen, Belgium
Theo Travis, Aidan Baker, Premonition Factory, Kunst4life, Simeon Harris, Yellow6.
http://livelooping.be/
and some fliers:
Sunday, 6 February 2011
close/r review from [sic] magazine
http://www.sicmagazine.net/articles/811/yellow6-closer
by Brett Spaceman 7.5/10
yellow6 (real name Jon Attwood), the thinking man’s guitarist, the connoisseurs choice, the former punk now pushing minimalism to the utmost limits, rejects the idea that he is ambient. When previously I tried to tag him as a ‘guitar Harold Budd’, he claimed never to have heard Budd, nor to have paid over much attention to Eno or any of the early ambient pioneers. Fair enough. But when Attwood started y6 it was, what I suppose we’d call, guitar and electronics nugaze and he has moved steadily more and more….less. Recent y6 albums have been stretched out, Iberian guitar vistas with percussive beats few and far between. Sometimes Attwood is so laid back he’s horizontal. A cliché, I know, but many clichés are born out of a kind of truth and the horizon is prominent in y6 work.
This time around, Attwood has REALLY gone and done it. This album should probably be considered as more of a project or even a study. The tagline for Close/r is something like “Three chords. Ten collaborators”. The basic premise – Attwood conjured a simple guitar refrain, a three chord progression, albeit a languid one (35-40 seconds!) and then he sent it out to friends. So, whereas many artists rope in colleagues to remix their work, Attwood wanted his contemporaries to focus in on a specific movement and offer their interpretation. Once the results were back in, Attwood arranged them into three gargantuan tracks.
Close/r is 70 minutes of that same sequence. Yep, it’s relentless. I didn’t even know before I played it so I sat open mouthed as ‘Close/r One’ staggered past 6 minutes, 10 minutes, 20 minutes etc before finally clocking in at 29 minutes long. 29 minutes of the same thing! Well no, actually the whole album is the same. Could this be a monumental pîss take, I thought? Or is it just monumental? The former is a delicious idea. Y6 has his detractors and the thought of certain individuals sitting through Close/r, tormented to carpet-chewing degrees, is worth recording an album in itself. Sadly though, it is 99.9% certain to be a serious piece of work. And so it should be for it certainly made me think.
“There’s joy in repetition.” (Prince)
If we’re saying Close/r is all the same thing, so what? So is a long, hot soak in the bath. But actually, crucially, it isn’t. That’s the point. Yes the chord sequence is the same. But each track takes that melody and builds upon it. Each of the three Close/r’s is a progression, putting layer upon layer of individual nuances into the piece. Close/r Two and Three are particularly rich. Indeed the climactic minutes of Close/r 2 almost take us out of the ‘foundation’ sequence altogether. (Fear not, it’s still there. It just sounds different)
After living with Close/r for a while it is obvious to me that the repetitive element is just a vehicle for the rest of the contributions. Here, the guitar is the car, Attwood is the driver, but his friends provide the scenery en route. It is almost not a y6 record in this respect. Where Close/r is revelatory is in its message. This record reveals the myriad possibilities open to recording artists. There are choices to be made at every turn. How to perform? What instruments to use? What key? How to record, produce, edit, mix and master? So many directions that a song can go in. Or in this case, one simple chord pattern. That now infamous sequence becomes a mantra, more emptying than filling. Close/r is greater than a project or a study, it’s a meditation.
An amazing and informative piece of work.
by Brett Spaceman 7.5/10
yellow6 (real name Jon Attwood), the thinking man’s guitarist, the connoisseurs choice, the former punk now pushing minimalism to the utmost limits, rejects the idea that he is ambient. When previously I tried to tag him as a ‘guitar Harold Budd’, he claimed never to have heard Budd, nor to have paid over much attention to Eno or any of the early ambient pioneers. Fair enough. But when Attwood started y6 it was, what I suppose we’d call, guitar and electronics nugaze and he has moved steadily more and more….less. Recent y6 albums have been stretched out, Iberian guitar vistas with percussive beats few and far between. Sometimes Attwood is so laid back he’s horizontal. A cliché, I know, but many clichés are born out of a kind of truth and the horizon is prominent in y6 work.
This time around, Attwood has REALLY gone and done it. This album should probably be considered as more of a project or even a study. The tagline for Close/r is something like “Three chords. Ten collaborators”. The basic premise – Attwood conjured a simple guitar refrain, a three chord progression, albeit a languid one (35-40 seconds!) and then he sent it out to friends. So, whereas many artists rope in colleagues to remix their work, Attwood wanted his contemporaries to focus in on a specific movement and offer their interpretation. Once the results were back in, Attwood arranged them into three gargantuan tracks.
Close/r is 70 minutes of that same sequence. Yep, it’s relentless. I didn’t even know before I played it so I sat open mouthed as ‘Close/r One’ staggered past 6 minutes, 10 minutes, 20 minutes etc before finally clocking in at 29 minutes long. 29 minutes of the same thing! Well no, actually the whole album is the same. Could this be a monumental pîss take, I thought? Or is it just monumental? The former is a delicious idea. Y6 has his detractors and the thought of certain individuals sitting through Close/r, tormented to carpet-chewing degrees, is worth recording an album in itself. Sadly though, it is 99.9% certain to be a serious piece of work. And so it should be for it certainly made me think.
“There’s joy in repetition.” (Prince)
If we’re saying Close/r is all the same thing, so what? So is a long, hot soak in the bath. But actually, crucially, it isn’t. That’s the point. Yes the chord sequence is the same. But each track takes that melody and builds upon it. Each of the three Close/r’s is a progression, putting layer upon layer of individual nuances into the piece. Close/r Two and Three are particularly rich. Indeed the climactic minutes of Close/r 2 almost take us out of the ‘foundation’ sequence altogether. (Fear not, it’s still there. It just sounds different)
After living with Close/r for a while it is obvious to me that the repetitive element is just a vehicle for the rest of the contributions. Here, the guitar is the car, Attwood is the driver, but his friends provide the scenery en route. It is almost not a y6 record in this respect. Where Close/r is revelatory is in its message. This record reveals the myriad possibilities open to recording artists. There are choices to be made at every turn. How to perform? What instruments to use? What key? How to record, produce, edit, mix and master? So many directions that a song can go in. Or in this case, one simple chord pattern. That now infamous sequence becomes a mantra, more emptying than filling. Close/r is greater than a project or a study, it’s a meditation.
An amazing and informative piece of work.
Saturday, 29 January 2011
gigs and things...
Hi
belated happy new year / late january.
a bit of Yellow6 news... i'm heading off to mainland Europe in a few weeks to play some shows. full details below, but include the Tonefloat tf100 festival which includes the debut live performance of Sleep of Reason (Dirk Serries and myself), and the Antwerp Live Looping Festival.
for now, there's a break in the new releases after the mad rush of late 2010. Heavy With Snow, the 3" cdr release from ABGVRD of Moscow is now available. All my copies sold on pre-order to people on this list, but it is still available from the label. contact abgurd@gmail.com for info (as it is not listed on their website)
future releases during 2011 will include:
David Newlyn and Yellow6 - Miniatures: 3" cdr of piano/guitar/processing
Sleep of Reason - 3 LP series on Tonefloat
Larkian and Yellow6 - Offtempo (CD album)
Caught In The Wake Forever - album with remix disc including Y6 remix
collaboration with Masturbation Goes Cloud and split LP with -egsun-
and maybe some new Y6 material....
but for now, on to the gig news....
Feb 26
yellow6 + when day chokes the night
plane Ari Home gigs
concerts à la maison à WANQUETIN ( près d'Arras) concert privé, réservation obligatoire / contact: indiesociable@free.fr
Feb 27
Tonefloat Festival
paradox ,Telegraafstraat 62, 5038 BM – Tilburg, Netherlands
ron geesin / the use of ashes / astralasia / march / sand snowman / the sleep of reason
http://tonefloatrecords.blogspot.com/
Feb 28
Aucan / Yellow6
liege : la zone
address : La Zone asbl, 27 Rue Méan, B-4020 Liège
http://www.lazone.be/
Mar 01
TBC
Mar 02
Lille (TBC)
Mar 03
Paris
Espace B, 16 Rue Barbanègre 75019 Paris
Mar 04
Yellow6
19.30Jan van Houtkade 7, Leiden, NL
http://www.myspace.com/hannahdriesse
Mar 05
Live Looping Festival
Arenberg Schouwburg
Arenbergstraat 28, Antwerpen, Belgium
Theo Travis, Aidan Baker, Premonition Factory, Kunst4life, Simeon Harris, Yellow6.
http://livelooping.be/
if anyone can make suggestions to fill the dates 01-03 March please mail me
that's all for now
jon.
belated happy new year / late january.
a bit of Yellow6 news... i'm heading off to mainland Europe in a few weeks to play some shows. full details below, but include the Tonefloat tf100 festival which includes the debut live performance of Sleep of Reason (Dirk Serries and myself), and the Antwerp Live Looping Festival.
for now, there's a break in the new releases after the mad rush of late 2010. Heavy With Snow, the 3" cdr release from ABGVRD of Moscow is now available. All my copies sold on pre-order to people on this list, but it is still available from the label. contact abgurd@gmail.com for info (as it is not listed on their website)
future releases during 2011 will include:
David Newlyn and Yellow6 - Miniatures: 3" cdr of piano/guitar/processing
Sleep of Reason - 3 LP series on Tonefloat
Larkian and Yellow6 - Offtempo (CD album)
Caught In The Wake Forever - album with remix disc including Y6 remix
collaboration with Masturbation Goes Cloud and split LP with -egsun-
and maybe some new Y6 material....
but for now, on to the gig news....
Feb 26
yellow6 + when day chokes the night
plane Ari Home gigs
concerts à la maison à WANQUETIN ( près d'Arras) concert privé, réservation obligatoire / contact: indiesociable@free.fr
Feb 27
Tonefloat Festival
paradox ,Telegraafstraat 62, 5038 BM – Tilburg, Netherlands
ron geesin / the use of ashes / astralasia / march / sand snowman / the sleep of reason
http://tonefloatrecords.blogspot.com/
Feb 28
Aucan / Yellow6
liege : la zone
address : La Zone asbl, 27 Rue Méan, B-4020 Liège
http://www.lazone.be/
Mar 01
TBC
Mar 02
Lille (TBC)
Mar 03
Paris
Espace B, 16 Rue Barbanègre 75019 Paris
Mar 04
Yellow6
19.30Jan van Houtkade 7, Leiden, NL
http://www.myspace.com/hannahdriesse
Mar 05
Live Looping Festival
Arenberg Schouwburg
Arenbergstraat 28, Antwerpen, Belgium
Theo Travis, Aidan Baker, Premonition Factory, Kunst4life, Simeon Harris, Yellow6.
http://livelooping.be/
if anyone can make suggestions to fill the dates 01-03 March please mail me
that's all for now
jon.
Friday, 31 December 2010
Happy N.Y.E.
happy new year to everyone - many thanks for listening over the past year(s) and I hope you continue to do so in the future...
here's an oldie - free download for the NYE party (or to get rid of the stragglers)
thanks
jon.
http://soundcloud.com/yellow6/n-y-e
here's an oldie - free download for the NYE party (or to get rid of the stragglers)
thanks
jon.
http://soundcloud.com/yellow6/n-y-e
Thursday, 23 December 2010
the 6mas message
Hi
just a "brief" pre-christmas message.
Firstly i'd like to thank everyone who has bought or broadcast my music, organised or come to gigs, contributed to the recordings by playing on them or having the faith to release them.
This year has seen a lot of releases even by my standards which, in case you blinked, have been:
'live' (october man 2cdr)
'CUT' (editions6)
'un/CUT' (editions6 - limited bonus CD)
'OLD' (cathedral transmissions download / limited box set)
'30 seconds of time' (silber - songs for the impatient)
'further loops notes and sketches' (TQA Records double 3" cdr with absent without leave)
'close/r' (editions6 - 3 chords and 10 collaborators)
'merry6mas2010' (editions6)
'in time this too will fade' (tonefloat clear vinyl LP)
'DEATH' (Basses Frequences - thisquietarmy + yellow6)
'heavy with snow' (abgvrd 3" cdr - due any day now)
it has also seen the completion of an album with Larkian for release in 2011 by Basses Freqences and the completion of 2 volumes in the series of 3 LPs by The Sleep of Reason (with Dirk Serries) which will appear in some form in 2011 with a debut live appearance in Tilburg in February.
I also did gigs in Paris, Lille, Bethune, Wanquetin, Gent, Antwerp, Nottingham (twice) and London.
so that's about all... people occasionally ask what i've been listening to so, for those interested, here's some of the things i've enjoyed this year - not all released during 2010 but things i either bought,found, or played a lot:
Richmond Fontaine - Postcards From Portland (chosen as it was released this year but i've bought 4 of their older albums as well, particular favourite being Thirteen Cities)
Dangermouse/Sparklehorse - Dark Night Of The soul
Pan American - White Bird Release
Silver Mount Zion - Kollaps Traditionelles
Microphonics - lots of stuff
Arcade Fire - Suburbs
The National - High Violet
Tortoise - Why Waste Time?
Philip Glass - Etudes for Piano (very old but i only heard it this year)
Signals - gauss (Mark Beazley from Rothko)
Johnny Cash - American VI
there's probably loads more, and i've been listening to Joy Division a lot too (nothing unusual there)
so, thanks once more for your support and hope to see some of you in 2011
jon/Yellow6
just a "brief" pre-christmas message.
Firstly i'd like to thank everyone who has bought or broadcast my music, organised or come to gigs, contributed to the recordings by playing on them or having the faith to release them.
This year has seen a lot of releases even by my standards which, in case you blinked, have been:
'live' (october man 2cdr)
'CUT' (editions6)
'un/CUT' (editions6 - limited bonus CD)
'OLD' (cathedral transmissions download / limited box set)
'30 seconds of time' (silber - songs for the impatient)
'further loops notes and sketches' (TQA Records double 3" cdr with absent without leave)
'close/r' (editions6 - 3 chords and 10 collaborators)
'merry6mas2010' (editions6)
'in time this too will fade' (tonefloat clear vinyl LP)
'DEATH' (Basses Frequences - thisquietarmy + yellow6)
'heavy with snow' (abgvrd 3" cdr - due any day now)
it has also seen the completion of an album with Larkian for release in 2011 by Basses Freqences and the completion of 2 volumes in the series of 3 LPs by The Sleep of Reason (with Dirk Serries) which will appear in some form in 2011 with a debut live appearance in Tilburg in February.
I also did gigs in Paris, Lille, Bethune, Wanquetin, Gent, Antwerp, Nottingham (twice) and London.
so that's about all... people occasionally ask what i've been listening to so, for those interested, here's some of the things i've enjoyed this year - not all released during 2010 but things i either bought,found, or played a lot:
Richmond Fontaine - Postcards From Portland (chosen as it was released this year but i've bought 4 of their older albums as well, particular favourite being Thirteen Cities)
Dangermouse/Sparklehorse - Dark Night Of The soul
Pan American - White Bird Release
Silver Mount Zion - Kollaps Traditionelles
Microphonics - lots of stuff
Arcade Fire - Suburbs
The National - High Violet
Tortoise - Why Waste Time?
Philip Glass - Etudes for Piano (very old but i only heard it this year)
Signals - gauss (Mark Beazley from Rothko)
Johnny Cash - American VI
there's probably loads more, and i've been listening to Joy Division a lot too (nothing unusual there)
so, thanks once more for your support and hope to see some of you in 2011
jon/Yellow6
Saturday, 11 December 2010
reviews, sell-outs etc.
hi
just a brief update with a couple of reviews from those fine folks at Norman Records and a shop update...
Shop first...
the Package Deal has now been removed - huge thanks to those that ordered in advance. Black vinyl copies of Death are in the mail from Basses Frequences so your orders will be sent out as soon as i get those.
I've also removed 'In Time This Too Will Fade' temporarily as i've sold the first batch but there will be more... lastly, Merry6mas2010 has almost sold out so if you want one be quick. Get that last minute christmas present for the person who has everything
so, to the reviews....
In time this Too Will Fade:
Another cheerily titled album! I think my first album (which I've been writing for the last 30 years) is gonna be called 'I was born and then I died and I can't remember what happened in between'. Pretty apt I think and I'm sure I can get Cowell on board with a catchy title like that. Back to the 6meister. This rare vinyl excursion (you don't get too much Yellow 6 on vinyl these days!) is limited to just 100 copies. It's on the Tonefloat label, is hand-numbered, wax-stamped and limited to a paltry 100 copies. Oh it's on clear vinyl too. Here the 6man plays with feedback, piano and acoustic guitar with his usual aplomb. As ever it's the usual moving cinematic sounding stuff which conjures up the whole desolate landscape imagery. Having said that I think it's probably the best thing I've heard by him in ages. I've not even played side 2 yet. Far too obsessed with side 1 and its gentle post-rockery. I can't think of a post-rock record I've heard in ages which I've liked but finally there is one and this is it! It's emotive shit with it's simple guitar refrain and Godspeed-esque feedback in the background. Truly excellent.
and... Death:
Now this is a real nice sounding record. If death sounds like this I'll happily slip away.... Erm.... As soon as I've seen Emeralds tonight. Not now. Oh Satan, take him instead, please! Yes! That man over there who just broke our toilet lever! How do you actually break a toilet lever? I despair. Anyway, enough digression. This collab is neither too doomy or particularly drifty. There's a tingly, dusty desert vibe throughout with some quietly ominous waves of impending doom on the fringes. 'Furnace' errs more toward desolate, shimmering dark ambience, but once more with a tumbleweed-y Godspeed feel on the backburner. Incredibly atmospheric & strangely beautiful, this is a piece to turn up real loud with some strategically placed candles dotted around. It's not often I feel like I'm hearing the distant wails of lost souls in a vast echo-laden sphere. I can hear them here. 'Salt' takes up the entirety of side two and is the epic journey to finish them all. If you ever wondered what a nervous Jon Yellow6 would sound like plonked on a stool by a pile of coyote skulls in the Nevada desert then you probably need to hear this very spectral record. It's a bit of a treat.
Jon.
just a brief update with a couple of reviews from those fine folks at Norman Records and a shop update...
Shop first...
the Package Deal has now been removed - huge thanks to those that ordered in advance. Black vinyl copies of Death are in the mail from Basses Frequences so your orders will be sent out as soon as i get those.
I've also removed 'In Time This Too Will Fade' temporarily as i've sold the first batch but there will be more... lastly, Merry6mas2010 has almost sold out so if you want one be quick. Get that last minute christmas present for the person who has everything
so, to the reviews....
In time this Too Will Fade:
Another cheerily titled album! I think my first album (which I've been writing for the last 30 years) is gonna be called 'I was born and then I died and I can't remember what happened in between'. Pretty apt I think and I'm sure I can get Cowell on board with a catchy title like that. Back to the 6meister. This rare vinyl excursion (you don't get too much Yellow 6 on vinyl these days!) is limited to just 100 copies. It's on the Tonefloat label, is hand-numbered, wax-stamped and limited to a paltry 100 copies. Oh it's on clear vinyl too. Here the 6man plays with feedback, piano and acoustic guitar with his usual aplomb. As ever it's the usual moving cinematic sounding stuff which conjures up the whole desolate landscape imagery. Having said that I think it's probably the best thing I've heard by him in ages. I've not even played side 2 yet. Far too obsessed with side 1 and its gentle post-rockery. I can't think of a post-rock record I've heard in ages which I've liked but finally there is one and this is it! It's emotive shit with it's simple guitar refrain and Godspeed-esque feedback in the background. Truly excellent.
and... Death:
Now this is a real nice sounding record. If death sounds like this I'll happily slip away.... Erm.... As soon as I've seen Emeralds tonight. Not now. Oh Satan, take him instead, please! Yes! That man over there who just broke our toilet lever! How do you actually break a toilet lever? I despair. Anyway, enough digression. This collab is neither too doomy or particularly drifty. There's a tingly, dusty desert vibe throughout with some quietly ominous waves of impending doom on the fringes. 'Furnace' errs more toward desolate, shimmering dark ambience, but once more with a tumbleweed-y Godspeed feel on the backburner. Incredibly atmospheric & strangely beautiful, this is a piece to turn up real loud with some strategically placed candles dotted around. It's not often I feel like I'm hearing the distant wails of lost souls in a vast echo-laden sphere. I can hear them here. 'Salt' takes up the entirety of side two and is the epic journey to finish them all. If you ever wondered what a nervous Jon Yellow6 would sound like plonked on a stool by a pile of coyote skulls in the Nevada desert then you probably need to hear this very spectral record. It's a bit of a treat.
Jon.
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