{"id":18853,"date":"2018-09-18T00:55:35","date_gmt":"2018-09-17T23:55:35","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18853"},"modified":"2018-09-18T00:55:35","modified_gmt":"2018-09-17T23:55:35","slug":"the-quietened-mechanisms","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2018\/09\/18\/the-quietened-mechanisms\/","title":{"rendered":"The Quietened Mechanisms"},"content":{"rendered":"

\"mechanisms.jpg\"<\/a><\/p>\n

The latest themed collection from A Year In The Country is a surprise for being a dramatic departure from the previous installment, the very musical Shildam House Tapes<\/em>. The Quietened Mechanisms<\/em><\/a> follows similar the label’s other Quietened releases\u2014Bunker<\/em>, Cosmologists<\/em> and Village<\/em>\u2014in seeking to represent in sound or music a sense of absence or ending. The theme of the new collection is the end of Britain’s industrial revolution, a period of social and geological turmoil whose ruins still litter the landscape, especially in the Midlands and North of England. Consequently, the entries this time are sparse to the point of abstraction, tending to the soundscape end of the musical spectrum.<\/p>\n

The album is an exploration of abandoned and derelict industry, infrastructure, technology and equipment that once upon a time helped to create, connect and sustain society.<\/p>\n

It wanders amongst deserted factories, discarded machinery, closed mines, mills and kilns and their echoes and remains; taking a moment or two to reflect on these once busy, functioning centres of activity and the sometimes sheer scale or amount of effort and human endeavour that was required to create and operate such structures and machines, many of which are now just left to fade away.<\/p>\n

Track list:
\n1) The Heartwood Institute\u2014Birkby and Allbright Mine<\/em>
\n2) Quaker\u2019s Stang\u2014The Hoffman Kiln<\/em>
\n3) Depatterning\u2014Of Looms in the Housen<\/em>
\n4) Embertides\u2014Ash, Oak & Sulphur<\/em>
\n5) Dom Cooper\u2014Metallurgy<\/em>
\n6) Field Lines Cartographer\u2014The Mill in the Forest<\/em>
\n7) Grey Frequency\u2014Nottingham Canal<\/em>
\n8) Howlround\u2014A Closed Circuit<\/em>
\n9) The Soulless Party\u2014Rattler to the Tower<\/em>
\n10) Keith Seatman\u2014Rural Flight<\/em>
\n11) Listening Center\u2014Clarion of the Collapsed Complex<\/em>
\n12) Spaceship\u2014The Stones Speak of Short Lives<\/em>
\n13) Sproatly Smith\u2014Canary Babies<\/em>
\n14) Pulselovers\u2014Fuggles<\/em>
\n15) Time Attendant\u2014Hidden Parameters<\/em>
\n16) Vic Mars\u2014Watchtower and Engine<\/em>
\n17) A Year In The Country\u2014The Structure\/Respite<\/em><\/p><\/blockquote>\n

This is post-industrial music in the multiple senses of the term although Dom Cooper’s Metallurgy<\/em> harks back to the Industrial metal-bashing sub-genre of the 1980s. The pieces that seek to conjure pictures of abandoned places do so in ways that aren’t always so obvious: The Mill In The Forest<\/em> by Field Lines Cartographer is closer to Gil Mell\u00e9’s Andromeda Strain<\/em> soundtrack than Shirley Collins. Not all the contributions have immediately obvious titles so the accompanying notes are essential: Sproatly Smith’s solemn Canary Babies<\/em> is a memorial to the women who worked in the Rother Ordnance Factory making bombs and shells, and whose skins were turned yellow by the chemicals they used. This isn’t industrial nostalgia, in other words, but an often poignant commemoration. Another impressive installment in this ongoing series. The Quietened Mechanisms<\/em> will be released on 2nd October 2018, and is available for order here<\/a>.<\/p>\n

Previously on { feuilleton }
\n\u2022 The Shildam Hall Tapes<\/a>
\n\u2022 Audio Albion<\/a>
\n\u2022 A Year In The Country: the book<\/a>
\n\u2022 All The Merry Year Round<\/a>
\n\u2022 The Quietened Cosmologists<\/a>
\n\u2022 Undercurrents<\/a>
\n\u2022 From The Furthest Signals<\/a>
\n\u2022 The Restless Field<\/a>
\n\u2022 The Marks Upon The Land<\/a>
\n\u2022 The Forest \/ The Wald<\/a>
\n\u2022 The Quietened Bunker<\/a>
\n\u2022 Fractures<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The latest themed collection from A Year In The Country is a surprise for being a dramatic departure from the previous installment, the very musical Shildam House Tapes. The Quietened Mechanisms follows similar the label’s other Quietened releases\u2014Bunker, Cosmologists and Village\u2014in seeking to represent in sound or music a sense of absence or ending. The … Continue reading “The Quietened Mechanisms”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[29,3],"tags":[6350,8829,9701,9700,8824,6723,6593,7707,8282,8828,9699,9514,8115,9515,8113,8110,8825],"class_list":["post-18853","post","type-post","status-publish","format-standard","hentry","category-electronica","category-music","tag-a-year-in-the-country","tag-depatterning","tag-dom-cooper","tag-embertides","tag-field-lines-cartographer","tag-grey-frequency","tag-howlround","tag-keith-seatman","tag-listening-center","tag-pulselovers","tag-quakers-stang","tag-spaceship","tag-sproatly-smith","tag-the-heartwood-institute","tag-the-soulless-party","tag-time-attendant","tag-vic-mars"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4U5","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18853","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=18853"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18853\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}