BRIL­LIANT DOU­BLE-WHAMMY FROM AVANT-GARDE MAV­ER­ICK

Hot Press - - Critical Mass / Albums -

Dublin-born Stano trashed all the rules with his genre-bust­ing 1983 de­but, Con­tent To Write In I Dine Weather­craft. Back then, many were in­tim­i­dated by his con­sciously naive ap­proach, but the al­bum is brim­ful of sounds that still stun. There are hints of stoner psychedelia on the spooky ‘A Dead Rose’; touches of ex­per­i­men­tal min­i­mal­ism in the pi­ano-driven ‘Out Of The Dark, Into The Dawn’; and his elec­tronic wiz­ardry is all over ‘Melt­ing Grey’.

Else­where, ‘Seance Of A Kon­da­like’ sets his Ono-es­que mouth noises against Mid­dle East­ern pat­terns, while the jagged ‘White Fields (In Isis)’ is a dance­floor-friendly gem. Stano’s lib­er­ated cre­ativ­ity, with in­flu­ences that have ric­o­cheted from Dy­lan to John Cage, Eno to punk, is more about sound than style – and he pushes the bound­aries to thrilling ef­fect on this time­less clas­sic.

To co­in­cide with its re-re­lease, Stano has also is­sued the brand new Dream Like Si­lence. Pri­mar­ily a pi­ano-led af­fair, there are also squalls of gui­tar, and the record makes full use of the record­ing room’s or­ganic am­bi­ence. ‘Red Clouds’ and ‘Red Lights’ are sump­tu­ous sound­scapes; ‘Dedalus’ broad­ens the palette with some be­guil­ing ex­per­i­men­ta­tion; and ‘Re­ver­ber­a­tion ben­e­fits from added per­cus­sion and gui­tar, re­sult­ing in a glo­ri­ous melange of noise. There’s an im­pro­vised feel to the equally elec­tric ‘The Back Strand, Where The Nuns Used To Swim’.

Less wil­fully con­fronta­tional and more sharply fo­cused than Stano’s de­but, Dream Like Si­lence con­firms him as one of Ire­land’s most fas­ci­nat­ing un­der­ground artists.

OUT NOW / JACKIE HAY­DEN

Stano1. Con­tent to Write In I Dine Weather­craft2. Dream Like Si­lence ALL CITY RECORDS ‘A Dead Rose’ / ‘Dedalus’

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