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Quirky folk electronica from English acoustic wizard Richard Neale. Prior to his release of the 'Deep Blue' Eps, Neale released this minimalistic loop odyssey. Hypnotic, trance-inducing experimentalism, building four tracks around a single loop. Inspired by the works of William Baskinski, this comes in a nice hexagon box, for all your weird-shaped packaging needs. 


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  • RAINBEAR002 / CD on Rain Bear Records housed in custom made hexagonal packaging
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ENDS by Richard Neale
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6 people love this record. Be the 7th!
9/10 Jamie Staff review, 01 June 2016

Richard Neale is back with his second full-length album, following his immersive duo of ‘Deep Blue’ EPs. The record comprises four tracks, each formed from a single evolving and mutating loop. Richard says he was inspired by the works of William Basinski, and the comparison is an obvious if not fully satisfactory one. Richard has always had a meticulous approach to composition with results that excel the sum of their constituent parts. Each track begins with a single, basic element and electroacoustic sounds are layered diaphanously over the top. Opening track ‘E’ -- the track titles spell out the album name -- begins with looped female ‘aaaa-aah-aaaahaaa’ with percussion, rhythmic acoustic guitar and electronic washes draped over and over again so that the music builds, ebbs and flows to hypnotic effect. Similarly to Basinski’s work such as ‘The Disintegration Loops’, the sound gently shifts and drifts so that the listener becomes lost in the sound and the moment.

Second track ‘N’ begins with a simple but evocative piano motif which unwinds and unravels amidst otherworldly textures, before giving way to a second, more insistent and clarion piano. The two piano loops entwine around each other, warping and eventually unwinding into a rich, soupy reverb-laden dream fog. Richard adds gently beating drum and softly rattling percussion along the way to leave you pleasantly mesmerised. ‘D’ consists of looped guitar and tapping rhythm which shifts and evolves, rather than disintegrates, as it weaves its way west. Closing track ‘S’ features chiming single piano notes, plucked guitar, drum and percussion; starting softly but building up, slowly, toward a crescendo which it never quite reaches. However, before you know it, once again the sound has built to a level which becomes almost distorted, putting the listener into a state of trance, before the almost-MBV type noise releases its hold, the tension still there, the acoustic elements holding the frame together until it collapses under its own weight rather than dissipates.

A very well constructed record and a hugely pleasurable listening experience.


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