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Félicia Atkinson & Jefre Cantu-Ledesma join forces once again, a couple of years after their initial hookup record ‘Comme Un Seul Narcisse’. Many of you I’m sure will know that Jefre Cantu-Ledesma has been an extremely busy chap over the years, running his Root Strata label, releasing plenty of records, collaborating with Liz Harris (Grouper) as Raum, is a member of Th ...

LP £15.99 SP101

Black vinyl LP on Shelter Press. Mastered and cut at D&M, Berlin. Photographs by Julien Carreyn, design by Bartolomé Sanson.

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REVIEWS

Limpid As The Solitudes by Félicia Atkinson & Jefre Cantu-Ledesma
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8/10 Ant Staff review, 14 November 2018

Félicia Atkinson & Jefre Cantu-Ledesma join forces once again, a couple of years after their initial hookup record ‘Comme Un Seul Narcisse’. Many of you I’m sure will know that Jefre Cantu-Ledesma has been an extremely busy chap over the years, running his Root Strata label, releasing plenty of records, collaborating with Liz Harris (Grouper) as Raum, is a member of The Alps, Tarantel and so on. Félicia Atkinson used to release music as Je Suis Le Petit Chevalier and is the co-founder of the increasingly great Shelter Press label. Between them, they’ve amassed quite a body of work and hearing them working together really gives the sense they are very much sonically kindred spirits.

Listening to ‘Limpid As The Solitudes’ is like entering a strange world somewhere between fantasy and reality, sleep and wakefulness. ‘And The Flower Have Time For Me’ is like an introspective daydream with flashes of transient interference of location recordings of traffic, people passing by, avian chattering, and dripping water. The effect something like the amalgamation of emotions inside the mind being broadcast out into the environment - the droning inside your mind leaking out into the air. ‘Her Eyelids Say’ is dreamier still with its organ-like drone, delicate sensual keys, electronic cicadas ticking and more birdsong. It’s like a gentle half-snooze in a pastoral landscape with one ear/eye open observing and listening to the natural environmental sounds, while the other ear/eye is in the bliss of a dream zone. From this hypnagogic state, ‘Indefatigable Purple’ pushes us slightly further towards sleep like a peculiar lullaby with Félicia’s almost whispered ASMR like vocals, subtle bass and what sounds like a magical angelic harp. But still, we never quite fully submerge - there’s always a slight distraction - a bird tweet here and there that keeps us static between wakefulness and dream realms.

Bubbling and trickling water sounds reappear on the eighteen-minute deep droning and lethargy-inducing ‘All Night I Carpenter’ which unfolds wonderfully with chimes, glitches and flashes of acousmatic sounds. The sum of which is making me slouch ever lower and lower with an overwhelming desire to become horizontal and curl up into the foetal position. Her voice makes a short appearance once again at the end - her hushed softly spoken vocals having a sublime soothing effect like the lady on Robert Ashley classic ‘Automatic Writing’ reading the final page of a bedtime story.




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