Laura Cannell - Lyrelyrelyre - COMPACT DISCS [CD]

Vinyl LP pressing. Speedy Wunderground's latest export, Moreish Idols, have come a long way since their humble beginnings as a dream-pop trio in a Cornish coastal town. The band formed with the strictly implemented manifesto of writing solely as a group to allow the blending of each member's widely divergent personalities and influences. This melded a sound that combines jazz, funk, krautrock, dub and punk into something decidedly moreish. Recorded with Dan Carey, their debut EP, Float, is a defining sonic statement.

On May 17th, Laura J Martin is set to make her return with the of her new album, Prepared via Summer Critics. The album follows the of her 2021 critically acclaimed collaborative album Wyndow, and is Martin's first solo material since 2016. Following the of her 2016 album On The Never, Never, Martin knew that she wanted to take a break from writing and recording music. She moved back to Liverpool, from London, and began an apprenticeship with world renowned flute maker Willy Simmons. InchI was now looking at an instrument I'd been playing all my life at a molecular level. The discipline and repetitiveness of learning a craft freed my mind from thinking about songs for a bit and made me focus instead on some of the toxic chemicals and blow torches used to make the flutes,Inch she says. InchI've never been a particularly mindful person; I'm usually zipping from one thing to the next and this work had a pace of it's own which I had to submit to. As well as making flutes, I was also repairing them, and this was the part I most enjoyed - the process of renewal. In a corny way, I experienced this renewal myself.Inch Following this period, Martin felt inspired to make music again and began setting up her own home studio. InchAround this time, I'd started to listen to Joanna Brouk and the I am the Center compilation of early New Age music on Numero Group. This music was nothing like my own but seemed to extend from the Harmonia records I love and exist outside of the album, gig, tour regime. It was so inspiring and freeing, and I tentatively began to experiment in the studio, with the textures of Brouk's song 'Maggi's Flute' in mind.Inch Working closely with co-producer Iwan Morgan (Euros Childs, Cate Le Bon, Gruff Rhys, Georgia Ruth), the pair found themselves drawn to drum machines that wouldn't stay in time, and a piano with a tuning mind of it's own. InchI rediscove

It was Jakob Ortner, one of the composer's colleagues at the academy in Vienna, who piqued Rebay's interest in the guitar. The enthusiasm and skill Ortner and his pupils displayed convinced Rebay that the guitar could handle any harmonic construction thrown at it, far beyond the clichéd writing for the instrument of the late 19th century. The 12 Deutsche Tänze von Beethoven (1939, from the WoO8 cycle) and the Tema con Variazioni aus Op.12 No.1 von L. van Beethoven (1952) display a great passion for the German composer; Rebay also arranged Beethoven's Sonatas Op.79 and Op.90 for ensembles including a guitar. Rebay often opted for a simple style to make his arrangements accessible to a wide range of performers. This is true of certain (unfortunately undated) transcriptions for violin and guitar a gavotte in D minor by Jean-Baptiste Lully; a minuet in F major by George Frideric Handel; the Andante from the Italian Concerto BWV971 and the prelude in E major from the first book of The Well-Tempered Clavier by Johann Sebastian Bach. This probably indicates a revision of the violin part, and shows the esteem the composer enjoyed on the Viennese music scene. Rebay returned to the violin and guitar pairing on multiple occasions for a favourite genre of his the theme and variations. The writing here is more demanding and stands out for the equal weighting given to the two instruments and the use of keys unrelated to the theme for the individual variations, producing a concertato effect with numerous subtle expressive twists. All the cycles of variations on this recording are based on folk themes, with the exception of those based on InchHeidenrösleinInch (1953, from the Lied of the same name by Franz Schubert) and InchUnd der Hans schleicht umherInch (undated), which some scholars, contrary to Rebay's title, attribute to Franz von Woyna. Finally, Rebay wrote two sonatas for v