|Walker, Karima / Hands In Our Names|
|Add Date:||2017-09-14|| ||Pull Date:||2017-11-16|| |
|Week Ending:||24 Sep||17 Sep|
Minimalist desert drone-folk collage from Tucson. Soft guitars, tape loops, field recordings, gentle vocal tracks laid over one another. Lots of empty space and moments of relative quiet, broken by staticky field recordings and synths. The sound is dry, crisp, often lo-fi, desolate, disorienting. Hypnotizing and truly strange. This album is unlike anything I’ve ever heard, though if you like The Microphones/Mount Eerie, early His Name Is Alive, or David Sylvian’s more recent records, you’ll really like this. Favorites: 3, 5, 7, 9, 11, 12. No FCCs detected.|
1. (1:47)—Simple, gentle folk song. Bird and wind sounds. Minimal desert guitar. Multitracked vocals.
2. (2:33)—Bird sounds. Backmasked chimes. Distant noise.
3. *(2:40)—Dry a-cappella intro, with the various vocal tracks spinning off all over the place. Granulated synth sub-bass and noise. Fades into next track.
4. (4:32)—Like picking up several tinny, distant radio transmissions at one.
5. *(6:24)—Short, repeating loop of desert wind. Muted, grainy loops of various voices. Very quiet guitar strumming. The guitar picks up, jittering noise and cymbals emerge from the edges, and drums enter briefly.
6. (1:56)—Lo-fi, cut up tape samples of Walker singing wordlessly. Brief folk song with soft acoustic fingerpicking.
7. *(5:50)—Droning keyboard, footsteps. Unadorned, dry, whispery singing. A building avalanche of noise.
8. (1:46)—Wavering tones. Soft, breathy, wordless vocals.
9. *(3:15)—Lovely fingerpicked electric guitar and singing encased in haze. A cloud of noise. Slow, off-kilter drums. Crickets and barking.
10. (1:37)—Tinny recording of speech, a whistling noise, wind, cars.
11. *(2:51)—Hushed folk song. Multitracked, slightly off-sync guitars and vocals make this feel like the audio equivalent of double vision. Silence at -0:15.
12. *(4:39)—Shaky vocal loops. Rippling electric guitar. Calming. Wonderful.