Richard Setford is currently in Berlin with Bannerman. (Check out the band’s music here). The make up of the band has changed (as it always seems to) and the music that they had made as a 6-piece in NZ has now been clipped and stripped. They’ve made it work in their favour and are focused on a sound they’re labeling “quietly dramatic”. A new album is written but they have no funds to record, so have started a crowdfunding campaign. If you’d like to contribute or to even just send a message, please go to their Indiegogo page – or visit through facebook. Here are five albums that Richie’s loving right now:
1 – Hundred Waters, The Moon Rang Like A Bell: I’ve been sitting with this one all year. It’s a beautifully textured record. They’ve chosen all the right sounds and created a perfect canvas for Nicole Miglis’ hushed, layered and emotional vocal. My favourite track right now is Seven White Horses.
2 – Pilooski, Holy Ghosts from the Belvédère: A friend in Berlin put me on to this. It’s a mix. I don’t know anything about the producer and I don’t recognise any of the tracks, so it’s an education. Like being in the most cavernous library in the world. Play it here.
3 – Neil Young, Harvest: I’m living in a house of tapes again. We mostly stream rdio but my flatmate is constantly mail-ordering tapes. I’ve been revelling in it. Anyway out of all the Scandanavian indie rap, Japenese shoegaze, Melbourne minimalism and Moroccan synth pop, Harvest is the tape most likely to be found in the player. Really, this is spinning most mornings – although it’s had a break recently. My favourite Neil Young record is On The Beach but the songs on Harvest are all so good. It’s bombastic (the strings are incredible), honest and even experimental (in some of its production choices). Can someone explain A Man Needs A Maid to me though?
4 – Unknown Mortal Orchestra, II: Played this twice last week. When it first came out I never really dug the second half, but now I hear the total package. I’ve obviously changed. How good are those little guitar passages he uses to link verse to chorus (almost classical)? The drum sound, the fills! It all seems quite effortless. I like the touches of soul, the zoning out, the meditative qualities.
5 – Grouper, Ruins: I’ve never seen a picture of the woman behind Grouper, I don’t know her name. I like that I’m ignorant of this. I feel like her anonymity is in tune with the music. Ever since I heard Dragging A Dead Deer Up A Hill I’ve been seduced. It’s fragile and haunted but it means something, it carries great emotional weight. It washes over me but it sinks in. This is a lighter album, in a way – the sound I mean. It’s clearer somehow, less dense. It has something to do with the piano.