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Getting Chihei Hatakeyama to play on your record is a sure-fire way to make things just that little bit more serene, his work sounding potently organic through the use of acoustic guitars, piano motifs and little electronic flourishes. On Falling Sun, he joins forces with the equally hushed Good Weather For An Airstrike, who act as soldiers against stress and health imbalance through their found sounds and ambient musical leanings. For fans of that Hammock series that tries to help you sleep -- here's an alternative.


CD £8.99

Ltd CD on Rural Colours. Edition of 140 copies.

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REVIEWS

Falling Sun by Chihei Hatakeyama and Good Weather For An Airstrike
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8/10 Laurie Staff review, 12 December 2014

It’s approaching the big X, which means things are getting crazy at Norman Towers - Phil hasn’t stopped to sit down for days, and Ian is muttering about a token attempt to slap me back. Sigur Ros has been floating around the office, but even that is too energetic for the level of soothing required amongst us Leeds elves. Enter Chihei Hatakeyama and partner in chime Tom Honey with some mellowing, immersive pieces that are the cool breeze that everybody needs, now more than ever.

Following a meeting courtesy of Hibernate records, these two have found a space between their styles that is highly arranged ambient music, subtly changing between each buried layer and chord like the falling sun depicted on the cover. Two records reviewed this week lie close to this - the field recordings and general meditation featured in Wil Bolton’s excellent Whorl and the blissful guitar tinges of Ghost and Tape’s recent Hibernate postcard Poble Nou. I can see how GWFAA got into this sort of music to curb his tinnitus - this music would do wonders if played on a hospital PA. Why don’t hospitals prescribe ambient? Why??

The environmental audio featured in the first track is sadly fairly rare, this being a record that would strongly benefit from that addition. Perhaps they deemed it too obvious, which is a fair point. The various throbs and melodic drones are indistinct in their origin - is that a synth, a slowed down guitar, or a plane engine? Who the eff knows. It doesn’t matter - they’re sublime. Things get a lot bassier on ‘Street Lights’, the low rumble giving way to distant babbling voices. The recorded field is back! These human touches give way to what sounds like a forest atmosphere during ‘Lost in this City’, stirring that longing for the natural when buried in the artificial. All in all, this is the aural equivalent of an incense stick.




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