Review of Wood, Winter, Hollow [12k1075]

Vital Weekly (NL)

On the first release we meet and greet label boss Taylor Deupree who meet up with Seaworthy – a real meeting up, in Deupree’s studio, near Ward Pound Ridge, where the two of them went for a walk and recording, especially of broken trees and debris, following a hurricane months earlier. In the studio they added in the evening nylon string guitar, banjo, e-bow, noises, loops, effects, jupiter 8 and percussion. This is very much something that I would expect to sound like this. In recent times 12K flirted a bit with pop music, but perhaps more with improvised music in combination with field recordings and very little electronica (synthesizers, loops). They are here, the electrical bits, but we hear them buzzing in the background, very softly, not outspoken and the thing we do hear is the tinkling of a guitar, the solitary bell sound of a glockenspiel, the metallic string of the banjo and the walking through leafy wood areas, and ducks in a pond. Not a very wintery release, as the title suggests, nor the titles which no doubt refer to the dates they were recorded (February 21 and 22 of this year). The crackling of branches sound like a cozy campfire, and Cameron Webb – the man of Seaworthy – playing his campfire songs but doesn’t sing. Highly melancholic stuff indeed. Nothing new under the sun for either artist, nor for the label – if you keep up with it’s movements.

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