A Winged Victory for the Sullen

構成数 : 1枚
合計収録時間 : 00:44:31
Personnel: Chester Desmond (harp); Peter Broderick, Elissa Lee, Marlene Ito (violin); Kristina Labitzke (viola); Hildur Gudnadottir, Chris Jepson (cello); Hugo Barone (bassoon); Rozanne Descheemaeker (French horn); Dustin O'Halloran, Adam Bryanbaum Wiltzie. Audio Mixer: Francesco Donadello. Recording information: Begijnhof, Brussels, Belgium; Black Mirror Studios, Udine, Italy; DDR Studio P4 Funkhaus, Berlin, Germany; Grunewald Church, Berlin, Germany; Jet Studios, Brussels, Belgium; Schlaff Klang, Berlin, Germany. Arrangers: Dustin O'Halloran; Adam Bryanbaum Wiltzie. Starting with the steady, contemplative piano and slight feedback on the opening "We Played Some Open Chords," A Winged Victory for the Sullen can't be called a barrel of laughs per se, but their song titles -- not to mention their band name -- suggest a knowing playfulness with the conventions of moodily beautiful 21st century drone/ambient. Given that the core members are composer Dustin O'Halloran and Stars of the Lid veteran Adam Wiltzie, it's little surprise that both those conventions, and how to work well beyond them, are within their grasp on this debut release. Much like some Stars of the Lid releases, the album and song names may verge on the wry, but without that context, something like the slow strings and feeling of suffused sorrow on the first part of "Requiem for the Static King," or the involving textures of "Steep Hills of Vicodin Tears" simply are what they are, and quite beautifully so at that. While the sonic connections to the members' past work are clear, so are the distinctions; if the duo is less about full-on beautiful drones than Stars of the Lid often were, there's a similar appreciation for the slowly unfolding and the calmly insular, touchstones ranging as far as George Winston as Eno ("A Symphony Pathetique," almost exclusively piano aside from some distant shading that appears a little more clearly toward the end, is arguably the extreme of this approach on the album, elegantly done every step of the way). Even with the titular or seeming snark brought to bear, the feeling often seems simply appropriate more than anything else -- "Minuet for a Cheap Piano" is almost just that, counting the extra layered tones in the background, while "All Farewells Are Sudden" doesn't close out the album on a quick, final note but a soft, string piece fade, a slow wheezing of tone and delay that's a conclusion and a half when it comes to wrapping things up with a gentle bow. ~ Ned Raggett