Laura Cannell - We Long to be Haunted (2022) [Hi-Res]
![Laura Cannell - We Long to be Haunted (2022) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-09/1662191324_5056321678423_t6_image.jpg)
BAND/ARTIST: Laura Cannell
- Title: We Long to be Haunted
- Year Of Release: 2022
- Label: Brawl Records
- Genre: Modern Classical, Folk, Contemporary, Ambient
- Quality: 16-bit/44.1kHz FLAC; 24-bit/44.1kHz FLAC
- Total Time: 23:52
- Total Size: 130; 251 MB
- WebSite: Album Preview
Multi-instrumentalist Laura Cannell continues her astonishing run of 2022 releases with an unearthly reimagining of sacred music, welding pipe organ improvisations to lysergic church bell manipulations and snatched field recordings.
Honestly we're still getting our heads around Cannell's genius "Antiphony of the Trees" full-length, easily one of the year's most underrated sets. "We Long to Be Haunted" only serves to amplify our obsession, building out her sonic topography to expand from Spring's pipe organ-focused "Unlocking Rituals" and refining its rarefied essence over five carefully pruned explorations of Medieval folk and sacred music. Cannell's instrumental skill is crucial here but she's not interested in the kind of showy musicianship that became the norm during the baroque era, instead she uses her ability to convey emotion, contextual history and inquisitiveness, bending each sound to her will and curating an atmosphere that's both magical and incredibly unique.
There's no shortage of artists dragging their fingers through the "Medieval vibes" playbook, but Cannell's interpretation of that era isn't aesthetic posturing - it's a studied connection with a past that's desperate to be explored with a level of nuance. 'Scorched Fields and Cracked Earth' draws us through the gate with a curlicued organ fanfare that feels resplendent but not overly Germanic. There's still a trace of Celtic military austerity diluted into the color of early Christian monastic drone; come 'Dried Hands Pluck the Stems' and we're transported into a more homely reflection of that era, as Cannell uses the light dissonance of strings to pull at Gaelic folk and more modern classical minimalism in the same breath.
Like "Antiphony of the Trees", Cannell stares at nature on 'Golden Torcs and Ancient Hymns', juxtaposing delayed bird calls with solemn pipe organ blasts, making links to the physical reality of British early music. It's easy to forget that the music from each region is often linked to its corporeal sonic landscape. Cannell makes these connections vivid, no more so than on the EP's dazzling closer 'Listen at the Earth Edge', where she incorporates both birdsong and processed church bells, acknowledging the ancient world and Medieval parish life simultaneously. Her sorrowful yet rousing pipe organ improvisation roots the piece in a sense of combined dread and wonder, echoing through history with an earthy gust so strong you can almost taste the air.
Fantastic music - even better theater.
Tracklist:
1.01 - Laura Cannell - Scorched Fields and Cracked Earth (3:30)
1.02 - Laura Cannell - Dried Hands Pluck the Stems (5:31)
1.03 - Laura Cannell - Golden Torcs and Ancient Hymns (6:42)
1.04 - Laura Cannell - Feed the Dappled Work Horses (4:03)
1.05 - Laura Cannell - Listen at the Earths Edge (4:07)
Honestly we're still getting our heads around Cannell's genius "Antiphony of the Trees" full-length, easily one of the year's most underrated sets. "We Long to Be Haunted" only serves to amplify our obsession, building out her sonic topography to expand from Spring's pipe organ-focused "Unlocking Rituals" and refining its rarefied essence over five carefully pruned explorations of Medieval folk and sacred music. Cannell's instrumental skill is crucial here but she's not interested in the kind of showy musicianship that became the norm during the baroque era, instead she uses her ability to convey emotion, contextual history and inquisitiveness, bending each sound to her will and curating an atmosphere that's both magical and incredibly unique.
There's no shortage of artists dragging their fingers through the "Medieval vibes" playbook, but Cannell's interpretation of that era isn't aesthetic posturing - it's a studied connection with a past that's desperate to be explored with a level of nuance. 'Scorched Fields and Cracked Earth' draws us through the gate with a curlicued organ fanfare that feels resplendent but not overly Germanic. There's still a trace of Celtic military austerity diluted into the color of early Christian monastic drone; come 'Dried Hands Pluck the Stems' and we're transported into a more homely reflection of that era, as Cannell uses the light dissonance of strings to pull at Gaelic folk and more modern classical minimalism in the same breath.
Like "Antiphony of the Trees", Cannell stares at nature on 'Golden Torcs and Ancient Hymns', juxtaposing delayed bird calls with solemn pipe organ blasts, making links to the physical reality of British early music. It's easy to forget that the music from each region is often linked to its corporeal sonic landscape. Cannell makes these connections vivid, no more so than on the EP's dazzling closer 'Listen at the Earth Edge', where she incorporates both birdsong and processed church bells, acknowledging the ancient world and Medieval parish life simultaneously. Her sorrowful yet rousing pipe organ improvisation roots the piece in a sense of combined dread and wonder, echoing through history with an earthy gust so strong you can almost taste the air.
Fantastic music - even better theater.
Tracklist:
1.01 - Laura Cannell - Scorched Fields and Cracked Earth (3:30)
1.02 - Laura Cannell - Dried Hands Pluck the Stems (5:31)
1.03 - Laura Cannell - Golden Torcs and Ancient Hymns (6:42)
1.04 - Laura Cannell - Feed the Dappled Work Horses (4:03)
1.05 - Laura Cannell - Listen at the Earths Edge (4:07)
Year 2022 | Classical | Folk | Ambient | FLAC / APE | HD & Vinyl
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