Brian Lavelle » www.brianlavelle.org

A nice little review of the first Space Weather disc, courtesy of Daniel Spicer, is featured in the new issue of The Wire (Issue 308, October 2009):

Space Weather is a different kind of collaboration entirely, the debut from an improvising trio with [Alistair] Crosbie playing guitar alongside Brian Lavelle’s synthesizer and Andrew Paine’s bass, making weightless space-Prog reminiscent of Ash Ra Tempel’s more dreamy excursions, such as “Traummaschine”.

Daniel also kindly featured Space Weather in his radio show, The Mystery Lesson (part 38), on 11 September 2009. The track he played was Copper Mountain.

Thanks Daniel!

August already: it’s been a while since I posted something other than news of new releases here, and in the last week I’ve taken the opportunity to merge my previously separate blog (‘Hundreds of Things’) into this site: it seemed to make sense to do that, given that I’m not good at the whole split personality thing. It’s tidier too, I suspect.

One reason for this post is to announce that I’m starting work on a series of limited releases, which have yet to take form, but which will I think be entirely guitar-borne pieces; attempts to distill what I normally do, which is labour-intensive, multi-layered and, ultimately, the source of much metaphorical wringing-of-hands, into something more immediate. I’d also like to do more with the physical form of these releases, which are likely to be fairly limited in nature, but which should be on CDR. I’ve been inspired to do more with packaging recently and I’m hoping these items will be a little more special than what has gone before. More on this as the project takes form, but if you’re interested in getting hold of these releases, let me know.

I’m also glad to report that work is gathering pace on a trio of connected releases which are made up only of live Theremin and effects, with no subsequent processing, layering or overdubs. This trilogy is called Aegean Sea Blue and I like to think it will be finished shortly. If others don’t feel keen to release these discs, they will come out on Dust, Unsettled. Again: more soon.

Also, my first ever LP, Magdalena, which is again a guitar-only album should be out this Autumn on my good friend Kyle Wright’s excellent label, Diophantine Discs. I’m very excited and honoured that Kyle wants to put this out as an LP; it was written for that format and I hope it works over two sides of vinyl. (Having said that, Supernaturalist was originally intended as a double LP set, but the financial implications of that were, shall we say, a steep climb…)

The first Space Weather album has got some very nice comments from people and seems to be doing well. Of course, it’s still available from me (and from Alistair and Paz) if you’d like to get a copy. Although I have difficulty sometimes with the intent behind the write-ups on the Volcanic Tongue site, David Keenan was kind enough to name-drop Popul Vuh when describing the album, which made me smile.

That’s all for now, but I’ll have more news very soon including details of two new releases (not by me, I should say!) on Dust, Unsettled. Keep listening; and thank you for lending your ears thus far.

I’m delighted to announce that the debut Space Weather album is now available on the group’s own label, Space Weather Recordings. The group, which consists of Alistair Crosbie (electric guitar), Andrew Paine (bass guitar) and me (synthesizer), play a kind of improvised experimental krautrock/space rock. You might enjoy it…

There are a number of excerpts from the album on our MySpace page and you can buy the album from me on the Shop page.

Further recordings are in the works. More on those soon.

Ian Holloway’s wonderful online experimental music review Wonderful Wooden Reasons has a new review of Ustrina in its latest online edition:

At almost 70 minutes in length Ustrina from Scots dronist Lavelle is a significant investment of time and focus on both the part of the composer and the listener. Lavelle operates predominantly in the realms of warm and slightly fuzzy drone music. Narcotic tones and washes that gently shroud the audience with a vaguely clammy sense of unease. You’ve got to admit that’s an enticing prospect especially as Lavelle is very, and I do mean very, accomplished at this sort of thing. Like a darker version of Chalk & Heeman’s Mirror project, Ustrina is one of the best things I’ve heard from this side of Lavelle (the other side specialises in superbly forceful psychedelic cosmic-drone) and should be sought out without delay.

Thanks Ian!

Here’s an interesting review that appeared this month on the Heathen Harvest website:

Brian Lavelle is a project that is easily said to be hard to define. Desperation inevitably leads one to coin the experimental / avant-garde electronics tag but what I hear is something more deep and sensual than a simple frolic around the world of strange sounds and experimentation. Brian’s music isn’t a simple recording of jabbed buttons and crossed wires. There’s an apparent, intriguing skill and masterful art put into this release. The production follows a distinct flowing nature and does more to emphasize the fact that a great deal of time was spent on this recording than just about anything. It’s not dull and drab, overly compressed, or flat in any way. Supernaturalist sings to you in fragrant Earthly tongues without ever having or needing the presence of a vocalist. It breathes the tonal intricacy of our planet and has as much to do with the world through its field recordings as it does through its experimentation through manipulation and electronics. Strange and wonderful it is.

EE Tapes has seen quite a transformation over the years. From a modest tape label that saw its beginnings far back in the late 80′s, it grew towards the acceptance of at least the CD-R medium in the late 90′s, only to finally accept CD’s as a whole in in 2002-2003 (as well as changing its catalogue numbers from “ET##” to “EE##”. This release is an actual CD without the presence of a jewel case or typical CD artwork. Instead, the band / label opted for a white paper/plastic sleeve inside a folded 7”-styled artwork encasing. The paper is high-quality (recycled?) and has a natural graininess to it that suits the eerie artwork that was meant for a title such as Supernaturalist (though a pun on words may be intended here.) Brian Lavelle himself has done all of the photography and layout for this release so there is indeed a further artistic experience meant for the listener here simply beyond the music.

To whom I owe the leaping delight
That quickens my senses in our wakingtime
And the rhythm that governs the repose of our sleepingtime,
The breathing in unison

Of lovers whose bodies smell of each other
Who think the same thoughts without need of speech
And babble the same speech without need of meaning.

No peevish winter wind shall chill
No sullen tropic sun shall wither
The roses in the rose-garden which is ours and ours only

But this dedication is for others to read:
These are private words addressed to you in public.

—T.S. Eliot, A Dedication to my Wife

There’s a nice review of ‘Ustrina’ on the Chain D.L.K. site, written by Andrea Ferraris:

I think many of you out there have already Brian Lavelle for this or that release, but in case you’re absolutely new to his works you’ve to know between 1996 and today Lavelle has recorded for labels such as Bake, Diophantine, Freek, Staalplaat, Elsie and Jack etc. This drone based long track shows the incredible strength of proportions and the importance of balance, infact this sixty eighty minutes circa suite could be dead boring but ends being absorbing and fascinating instead. While being a little bit darker than many of the Lavelle’s output I’ve heard so far, it has nothing to do with dark ambient, it’s lulling and someway narcoleptic and summed up with a couple of other characteristics it brings to my mind DJ Olive’s “sleep” work on Room40, I’m tented to say the two releases are similar and equally as catchy. From what I’ve read inside the press sheet this english artist has reshaped some old sounds that probably has been collecting dust inside some rough recording and inside a black corner of Lavelle’s mind, but he managed to give it all such a good new definition I’d say this blast from the past has been damn successful. I can exactly say which were the exact sound sources/instruments for this recording, waves and the layers would suggest some keyboard/old synth sources twisted and renewed for good but with today’s technology it’s really hard for me to be one hundred percent sure. The pictures and the whole layout are great and I think from the front cover to the last page they give the impression of this environment Lavelle wanted to re-create. So the question is if we have to cross or not the bridge we see on the front cover?…by the way from the dead leaves it’s easy to imagine an autumnal landscape if you add the melancholic atmosphere of this work it’s hard to deny that’s not a joyful marriage.

Thanks to Andrea for looking to the whole release, at every aspect of it, as I’d hoped people would.

William Gardiner
29.VIII.1920 – 23.II.2009

Excellent online experimental music review Wonderful Wooden Reasons has a great little review of The Petrified Forest in its latest online edition:

There are two Brian Lavelles. There’s the Brian Lavelle that creates mature and mannered ambient compositions that slowly reveal themselves like a flower unfolding to greet the sun. Then there’s the Brian Lavelle that creates head mangling, massively psychedelic, cosmic drones. I like the first Lavelle but his music has a tendency to become just a little too nice for my palette. I love the second Lavelle! When he fires that tone at you there’s no escape. You’re along for the ride and the ride is always good.
Well, I’m happy to report that this 2 track, 20 minute set is definitely from the latter and it’s cracking stuff. The amorphous bloops and swoops mean it’s just sci-fi sounding enough to make my inner geek giggle with delight and it’s soaring fluid composition is ‘out there’ enough to make my outer space-cadet groan with psychedelic ecstasy.
A fine recording from an artist working at the top of his game.

Thank you Ian!