on life, music etc beyond mainstream

2019 26 Jan

„Chalk Hill Blue“, und andere Naturklanginspirationen

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




Hannah Peel and Will Burns – Studio Insight


Im März wird die Zusammenarbeit des Lyrikers Will Burns und der Komponistin Hannah Peel erscheinen, Chalk Hill Blue. Der Titel bezieht sich auf den Silbergrünen Bläuling, welchen man in der Heide of Buckinghamshire antrifft, der Heimat von Will Burns. Dazu bemerkt er:


“The old paths, the old buildings, the sight of a chalk hill blue or a greater butterfly orchid at the Ragpits – we don’t need these things for nostalgia, or for some sentimental reverie, we need them for the depth of life they summon, and to live through the world in all its wild abundance and richness, however small. To cultivate our own story-making of the earth as all that it can and should be.”


Man darf gespannt sein, wie sich diese Arbeit anhören wird, möglicherweise ein „spoken word album“. Geradezu programmatisch hier der Rückgriff auf die Natur, und alles betont Naturklanginspirierte steht seit den Zeiten von New Age erstmal unter dem Anfangsverdacht des Kitsches. Hannah Peel hat solche Fallhöhen des elektronischen Harmonierausches meistens ausgehebelt. Ein Grenzwanderer in diesem Terrain ist Hans Joachim Roedelius, dessen Werke mitunter den Pfaden des süssen Kitsches erliegen. („Wasser im Wind“ entdeckte ich jüngst, das Album aus dem Jahre 1982 ist mal wieder ein Beispiel für Roedelius „at his best“, wild, störrisch, verwegen, seltsam.)

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1 Comment

  1. Caught by the river:

    Will Burns is Caught by the River poet-in-residence, and Hannah Peel is a frequent fixture of Caught by the River festival stages – both with the ‘cosmic colliery’ electronica of her solo work, and with orchestral place-rock band The Magnetic North (of which Chalk Hill Blue producer Erland Cooper is also a member.)

    As part of their collaboration, Burns, Peel and Cooper walked the landscapes around Burns’s Wendover house together: their chalk-heeled boots tracing shared routes through the rhythms and repetitions of the place. What emerges in Chalk Hill Blue is a site-specific-non-specific record of creative place portraiture; an album that traces elements of a living landscape, and reworks them into something that is as sensitive and finely-observed as it is visionary.

    Burns’s words and Peel’s sounds – deftly fused by Cooper’s sympathetic production – channel the minute shifts in the air and atmosphere of a place, and their resulting emotional effects. The spoken words and sound worlds on Chalk Hill Blue often seem to emerge from subliminal processes of call and answer; a fertile blurring of collective inspiration and intention circling this abstracted chalk landscape.

    Perhaps if Delia Derbyshire’s later years in Cumbria had been happier then a record like this might have emerged from the fells, or alternatively if Virginia Astley’s gardens had contained a modular synth or two. Other triangulation points might include Hans Joachim Roedelius’s bucolic kosmiche reveries, Joanna Brouk’s new age minimalism, or James Yorkston’s ambient spoken word experiments. Like the butterfly with which it shares its name, Chalk Hill Blue is a rare thing: a glorious electric pastoral shimmer.
    Caughtbytheriver press text

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