Almost every track on ‘My Skeleton’ features field recordings made on far away buses, trains, airports, cities, parks, temples, forests and jungles, floors, hotels, hostels, friends’ sofas. Written on a netbook with various borrowed headphones and recorded and mixed in the cold European winter at Sunwheel II in Berlin and Hudson Mohawke’s studio in London.
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- My Skeleton by Claude Speeed
Promising post-it on this one - "Interesting pulsy Glass-y instrumentals from what I hear" says someone else in the office, although I'm listening to it now and it's wildly varied, from cosmic electronics to windswept '80s movie synths, patient droning to warm repetitive beatmaking to soulful cosmic drift. As an added point of interest, most of these songs also contain field recordings and were made on Mr Speeed's netbook during his travels "on far away buses, trains, airports, cities, parks, temples, forests and jungles, floors, hotels, hostels, friends’ sofas".
An early highlight is 'Some Other Guy', which blends some abrasive, buzzing tones and heady earth's-core synth hums into a strangely moving dentist-drill chord sequence that defeatedly recedes into fluttering, broken ambience before unfolding hopefully delicate shimmering twinkles and ethereal synth tranquility before plunging headfirst into a digitised almost black metal-like guitar crackle.
The following track 'Tiger Woods' is another highlight and presumably the Philip Glass one mentioned earlier, a bouncy loopscape of jaunty clarinet parps and vocal drones that owes an obvious debt to the minimalist master. The whole thing is brimming with imaginative tones and heartwarming chord sequences and unexpected diversions, with the field recordings woven into the music in very subtle ways, as an element of the music itself rather than something added on top. I'm impressed.
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