Phil Jamieson of Caspian had this to say about the new songs: "Castles High, Marble Bright" was conceived, written and recorded alongside the collection of songs that would become Dust and Disquiet, an album that sought to capture the dialogue between a newly found, furrow browed cynicism and a fractured but unbroken sense of stubbornly epic, dramatically determined optimism that we've been trying to emulate with our music for 12 years. The 60 minutes of Dust and Disquiet ended up speaking a bit to both; Castles..." speaks exclusively and entirely to the latter. We find ourselves over a year later touring behind this collection of songs still, with over 150 shows in 30 countries across 3 continents in the can. With the end finally in sight as we look to close out this 4 year chapter together, "Castles High, Marble Bright" is our North Star, our way home, and our celebration of that decision to fully embrace the above dialogue head on, all the while finding that, indeed still, hope lies within.
"127 North" is the sound of 6 guys playing in a room together on a Friday afternoon, and is in some ways the least ambitious thing we've ever committed to tape. Free from the grip of over arrangement, overdubs, click tracks, excessive chin stroking and the like, "127 North" is what a Caspian song sometimes sounds like in its infancy. It's a vulnerable moment for us to introduce people to a song that exists in this kind of limbo, somewhere between improvisation and a fully composed piece of music. It's an honest moment and all a part of the process, of course. Maybe it's time to invite people behind the curtain a little... there's some old couches, a few beers and maybe a few high fives back here waiting for you. Some days are less serious than others, and that's quite alright with us.
Caspian is about to kick off their upcoming tour with The Appleseed Cast.
Ali Murray is an ethereal folk songwriter/musician from the cold isle of Lewis in the north of Scotland. He writes dark atmospheric folk music with lush sweeping dreamy soundscapes and Celtic-twinged instrumentation. His new album LAND OF EVERGONE strikes a balance that is intimate and soaring, peaceful and haunting, sad and quietly joyful, delicately reverberating with Murray's dreamy voice and guitar playing.
Orellana is a neo-classical/post-rock collective hailing from Bristol, UK. Their new album “52”, released in late December, brought in the new year with it’s explosive and intricate sound. The project’s music transcends genre definitions in order to focus on a broad, diverse concept that is more emotional than tangible. This particular release is full of rich and diverse arrangements, but it is also a powerful exercise in minimalism, one that showcases the strength of very few notes placed in the right spots. The simplicity of the arrangement is actually one of the strongest aspects of this entire release: there’s a palpable stillness created by the long, drone notes in the background, which almost makes you feel like the world is happening in slow motion. When the chords and notes change, it feels quite monumental due to the beautiful contrast between the stillness of the background textures and the expressive sound of the guitar-based melodies.