Sam McLoughlin and David A Jaycock collaborated back in 2012 on this musical project about waterways in Devon. Devon Folklore Tapes Vol. III - Inland Water was first out as a cassette, but has now been promoted to double 10” vinyl. Delicate, beautiful, and also quietly unsettling. 500 hand-stamped copies packed along with a research booklet.
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- / Limited 2x10" on Folklore Tapes. Edition of 500 copies in hand-stamped and numbered manilla sleeve with 12-page research booklet
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- Devon Folklore Tapes Vol. III - Inland Water by Sam McLoughlin / David A Jaycock
8/10 Robin Staff review, 05 October 2015
The folks who make the luring tapes are back with the folklore tapes, now in its third edition for Rule Of Three propriety. As is custom for this series, each release offers contributions from a host of different artists, and the purely musical side of this two-part third part involves aquatic spookster Sam McLoughlin alongside fellow half-droner David A Jaycock. What ensues is a cabaret of ambience, full of toy twinklings, fluttery sea recordings and accidentally melodic embellishments.
Though it sounds like it’s been created under the sea, McLoughlin’s side is often woozy and disorientating, invoking sirens, oddly toned acoustic instruments and squirted synth sounds. It’s a take on aquatic musical tribute that’s pioneered by Dolphins Into the Future, the kind that reminds us of the incongruity, strangeness and ugliness that often occurs: the bogs and puddles to go with the rivers and oceans. This release was inspired and recorded around a pool of water in Dartmoor, and the droplets of water collected here -- seemingly with unflinchingly close mics -- are supplemented by pulsating electronics and the occasional Krauty figure. On the flip, a romantic horror-flick of a tune plays over the top of the same watery ambience, bringing to mind a terrible scenario in which the Ghost Box office floods.
We’re nothing if not avid gimmick suckers, having previously loved collaborative records about trainlines, and there’s something gorgeous inherent to the natural atmospheres captured within these electronic experiments. David Jaycock continues the fine work by building the quiet into loud amongst near-silent minimalism, tinkering with piano notes, shimmering drone fatigue and the occasional emotive climax, such as a collation of synthlines, piano chords and plucked guitars. It’s gorgeous, illusory music that brings to mind dense, animated environments, the kind that disappear behind you as you step into them. Gorgeous stuff; essential for the sonically dehydrated.
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