on life, music etc beyond mainstream

2014 12 Jul

Playlist of a hot contender for the album of the year

von: Manafonistas Filed under: Blog | TB | 1 Comment

Ask any Manafonista, and they have their choices, for their possible favourite album of the year (so far). Among the candidates, Eno/Hyde’s High Life, a forthcoming quartet work by Louis Sclavis, Fennesz’s Becs, Swans‘ To Be Kind, Charcoal Owls‘ Tin Roof, and the list is of course a bit longer. Here comes the playlist of another hot (very hot) contender for the album of the year, two pieces will be played in my radionacht klanghorizonte on August 16th. It will be our cd of the month in September or October 2014, Henning or I (or both of us, he doesn’t know yet!:)) will write it.


1. Navigators (06:40)
2. Halfway House (01:28)
3. Sanctuary (03:06)
4. Pioneer Trail (04:23)
5. Red Café (03:03)
6. Last Chance Gas & Water (08:51)
7. Strife (01:35)
8. Sanctuary Revisited (04:23)
9. Departed (02:51) 

This entry was posted on Samstag, 12. Juli 2014 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.

1 Comment

  1. Michael Engelbrecht:

    Charcoal Owls don’t ring a bell? Ian has already sung its praise. Here is what BOOMKAT writes:

    No strangers to the weird and wonderful, Glasgow’s Night School surpass themselves with this slanted and enchanted debut vinyl by Charcoal Owls, aka poet Russell Walker (Pheromoans/Bomber Jackets) and musician Tom James Scott (Liberez).

    Melding baroque indie pop with pastoral electronics, field recordings and absurd lyrics, their ‚Tin Roof‘ occupies some „other“ space between BoC, Bach and Salad Fingers, taking a leisurely, groggy dérive between passages of tranquillised, twinkling keys, hazy organ melodies and crepuscular atmospheres united by Walker’s drawling, poetic commentary.

    It’s a rare sort of insight to provincial southern English worlds, with observations on wheelie bins, porridge and suburban insecurity juxtaposed against well-mannered but sly musical backdrops belying the duo’s relative outsider perspective, along with the strange, spectral presence of Rose Keeler (Keel Her) in the almost ickily pretty ‚Grace Period‘. Unless they make and release another album in 2014, we reckon you won’t hear another record quite like this all year.

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