Just in, beautiful pastoral drone music from the ever excellent Af Ursin's imprint, La Scie Dorée.
See below for a description of each title. We only have a handfull of these so be quick.
====== Elodie - MINIATURES PERSES ======
''Fourth album by Elodie's Andrew Chalk and Timo Van Luijk, a musical fantasy in two movements, symbolising the evocative power and poetry of ancient illustration.''
====== Elodie - ECHOS PASTORAUX ======
''Beautiful album by Andrew Chalk and Timo Van Luyk (with Daisuke Suzuki on percussions and Ian Middleton on "accidental sounds"). Andrew Chalk is one of the most appreciate musician in this category floating between drone and ambient music, and his meeting with Timo Van Luijk has created an amazing record, able to emphasise the slow, limited gestures, movements elegiac elegance, but still so heavily controlled. Each faint seems to have a gesture meaning. Here you can hear a flute (connected to a discrete pedal) and another to the synthesiser (a antediluvian Roland Analog, armed with pedals), both building dreamy and resonant tones, playing with silence.''
====== Elodie - TRACES EPHÉMÉRES ======
Beautiful album from Andrew Chalk and Timo van Luijk, from pastoral snaphots to some oriental dreams. Eclectic ensemble of 18 instrumental arrangements invoking an epic and existential soundtrack determined by the power of momentary destiny and reflective sentiment. Guest appearances by Jean-Noel Rebilly and Tom James Scott.
====== Elodie - LE MANTEAU D'ETOILES ======
''Le manteau d’étoiles' collects ten airy instrumental spheres glowing and evaporating in a universal infinity like any moment in the panorama of everyday life. Throughout the whole album, there's a refined sense of reductionism and that achingly poetic melancholy which drips from every sustained note and hushed passage, through the sparse, non-linear interplay of guitar, bass, gongs, flutes, clarinet, percussion, and electronics,Timo Van Lujik and Andrew Chalk, here expanding as a quartet given in Leuven, with Tom James Scott on piano and Jean-Noel Rebilly on clarinet.
We're probably more smitten by the piano and electronic excursions, which lean towards a Satie-inspired ambience over the loping impressionism through bass and guitar, but all of this is played with a spellbinding sadness, accompanied by small tactile events that sound like hapless shuffling through fallen leaves or the rustling of century old newspapers.''