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130701, a spin-off label from FatCat Records with a focus on post-classical music, celebrates their fifteenth anniversary this year, and are doing so in style with Eleven into Fifteen, a star-studded compilation. Artists represented here include Ian William Craig, Hauschka and Max Richter: what a high-quality label eh?

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  • Double LP £25.99
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  • LP1317 / 2LP on 130701 inc. Max Richter, Ian William Craig, Hauschka, Sylvain Chauveau, Dustin O'Halloran, Johann Johannsson etc. + LIMITED BONUS CD

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  • CD £10.99
  • Not in stock / Usually ships in 2-5 days ?
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  • NormanPoints: 110 ?
  • CD1317 / CD on 130701 inc. Max Richter, Ian William Craig, Hauschka, Sylvain Chauveau, Dustin O'Halloran, Johann Johannsson etc. + LIMITED BONUS CD

This item needs to be ordered in from a supplier.
Usually ships in 2-5 days but delays are possible.

REVIEWS

Eleven into Fifteen: a 130701 Compilation by Various
1 review. Add your own review.
12 people love this record. Be the 13th!
8/10 Jamie Staff review, 12 July 2016

It was fifteen years ago today -- well, it will be tomorrow, at time of writing -- that FatCat launched their classical spinoff imprint, 130701, unto an unsuspecting but thankful public. They have collected an impressive roster of talent, for sure. You’ll likely already be aware of the abundance and embarrassment of riches they have offered us over the years, and tracks from Max, Dustin, Hauschka, Jóhann and latest stellar signing, one Ian William Craig are all present and correct on this shiny new compilation CD and larger double black plastic disc. It’s important to note here that none of the tracks had previously been made available on a physical format.

The record opens with the first of the new signings on the record, Olivier Alary. On ‘Yangtze’, Olivier delivers his notes through his sax in the most languorous way, the reed resonating weightless above the grounded violin and cello, those fields shimmering in the haze as the river plots its steady course. Dustin O’Halloran gives us ‘Constreaux No.2’: a lovely duet between piano and vibraphone, augmented by gently swaying autumnal strings. Every bit as gorgeously evocative as you might expect.

Dmitry Evgrafov released an album towards the end of 2015 full of serene sounds that played off fertile land and a sonic palette as wide as the Grand Canyon; he has repeated the trick here on ‘Anthem’. The sense of space he creates is truly staggering and his hanging piano is supremely immersive. Resina’s strings sway and shimmer as the branches of a willow in the breeze, reflected back and refracted by lapping waves at the shore of an endless lake, in ‘June’.

Hauschka drenches us in dripping tranquility with ‘Quiet’, immaculate with its prepared pianos and elegant swoops. Sylvain Chauveau’s delivers tremolo Metheny-like guitars and entrancing ambience on ‘N B’. More gorgeous, aching, outward-looking piano melodies from Emilie Levienaise-Farrouch; a new name to me and one to discover. Max Richter’s ‘Bach Study’ ploughs that (seemingly) endlessly rich furrow with dense entangling and disentangling strings and hovering noise fog which dissipates almost as soon as it develops, to reveal a contemplative sotto piano solo.

A new Ian William Craig track is always a highly-anticipated thing and here he has spoilt us with yet another treat. IWC’s unmistakeable and spellbinding signature sound arrives at track 10, with his ‘Tender Fire’. Ian’s vocals shimmer and soar on this one, the tape decay revealing, part-obscuring then clarifying those sumptuous textures. Alchemy, always alchemy. A Golden Globe winner, Jóhann Jóhannsson in the final track provides us with a glimpse into his widescreen sound-world. ‘They Being Dead Yet Speaketh’ provides ample space for journeying with the mind, its open vistas feature stately brass and strings pregnant with celebratory sorrow.  

A fittingly cinematic conclusion to a collection full of magical musicianship within a vastly attractive and impressive post-classical world. Here’s to another fifteen years.



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