Skip to main content

Sound of Yell – Light the Currents (Infinite Greyscale)

Music and art are hardly strange bed-fellows, and indeed the liaison has been an ever-fertile breeding ground for cross-artform collaborations. As releasing records has become a more bespoke affair, editionising what’s effectively several works of art in one has made for creations of rare beauty. So it goes with the Glasgow/Berlin-based Infinite Greyscale label. This new release ticks all the above boxes as part of their exquisitely realised 10” singles club, which has previously hosted work by German electronic duo Mouse on Mars and composer Holly Herndon.

This latest opus from Glasgow's Sound of Yell compounds and emboldens the label's aesthetic at every level. Released in a numbered edition of 300 on single sided aqua-blue vinyl with a screen-printed B-side visualised by Ulrich Schmidt-Novak, and with handmade artwork by label bosses/ curators Paul McDevitt and Cornelius Quabeck.

Sound of Yell is the chameleon-like project of Stevie Jones, whose peripatetic musical adventure began in the 1990s with recently reignited post-rock instrumentalists El Hombre Trajeado, before playing with the likes of Arab Strap and Alasdair Roberts. As Sound of Yell, Jones' ever-expanding ensemble has at various points included former Nalle viola player Aby Vulliamy and vocalist and electronicist Kim Moore, aka WOLF. Jones joins the musical dots with this low-key musical community as and when required.

Following the full length Brocken Spectre in 2014 and the Fortunate Fume single the year after, both on Chemikal Underground, a second collection remains pending. This two-part composition is a fully rounded entity in its own right.

Part 1 of Light the Currents was written for a performance at Dundee Contemporary Arts in October 2016 as part of an event to coincide with the major exhibition of work by the late Katy Dove. For the occasion, Jones enlisted flautist Georgie McGeown, Trembling Bells drummer Alex Neilson and vocalist, artist and fellow member with Dove of Muscles of Joy, Vikki Morton.

The result is a bright and jaunty affair, which buzzes in as Jones' busy picked guitar lays down its rhythmic steps that are driven by Neilson, over which McGeown's flute melodies waft in and out. Morton's vocal, augmented by McGeown's harmonies, serves up a pastoral meditation which, all wrapped up in pitter-patting skitters, blossoms into a creation cluttered with an intense sense of life which off-sets the circumstances surrounding its origin.

There's nothing whimsical at play here. A muscularity is at the heart of the song's concentrated insularity, giving it confidence to burst into the open and flower into a fleet-footed dancing bird. At the end, the little flourish that finishes the song seems to take a bow.

Part 2 was written in immediate response to both the exhibition and the experience of playing at it. Wordless, it sounds more reflective, instruments tip-toe around each other, circling woozily until flute, recorder and guitar find common ground on a record produced and presented with every ounce of love it deserves.

www.infinitegreyscale.com
www.soundofyell.co.uk

 
Product, July 2017

ends

Comments

Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School

1

In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Martin McCormick – Ma, Pa and the Little Mouths

Family life is everything to Martin McCormick. The actor turned writer is having an increasingly high profile as a playwright, with his biggest play to date, Ma, Pa and the Little Mouths, opening this week at the Tron Theatre in Glasgow in a production in association with the National Theatre of Scotland as part of the Tron’s Mayfesto season. While his own domestic life with his wife, actress Kirsty Stuart, who is currently appearing in Frances Poet’s play, Gut, at the Traverse in Edinburgh, and their two children, sounds a hectic whirl of of juggling schedules, it is nothing like the world he has created for his play.
“I always knew it was going to be about two older people who’d experienced some kind of trauma and grief,” says McCormick, “but whatever it is that they’ve been through, it’s all in the background. They’re suppressing it, and there’s all this claustrophobia caused by all these suppressed emotions they’re going through while being stuck in this room. I guess all that came…