Acoustic Tales

by Field Rotation

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John Cratchley
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John Cratchley Remarkable and intricate detail make this music very special, I think...rarified but also epic in its intentions; it borders on the melancholy as well.
Kafka and Hemingway as touchstones...curious bedfellows...apparently...I hear the aural equivalent of Terence Malick...
Riccardo Marotti
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Riccardo Marotti This is one of my favourite "ambient" album ever.

The problem with "experimental ambient" is that, often, they tend to have very cool sounds, but poor music. This is not the case: here you'll find very cool sound with very good melody and harmony.

10/10 Favorite track: Acoustic Tale 5.
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about

“Acoustic Tales” is more of a trip to another country than it is an album...

Where albums are generally collections of songs, this release is comprised of territories, each vast in scope – rolling hills, panoramic horizons and acres of fields. Each track is a full day in this wilderness - traversing hillsides, rivers and embankments, up hill and down dale. Each trip is undertaken differently, with the sun in the sky throwing different angles of light and illuminating hidden aspects of the terrain.

Christoph Berg built this world throughout a two-year period, with the stated aim of integrating the literary traits of Kafka and Hemingway into an auditory form, seamlessly blending cinematic character with a subtle and mature melodic personality. The restrained arrangements are draped around melancholic yet triumphant airs, representing a dramatic leap into the assured and dignified confidence of a skilled practitioner at work.

Nils Frahm at Durton Studio in Berlin has mastered the project from analogue tape, and the deep corners of the tracks are tactile and textured as a result. Assisting is cellist Danny Norbury, adding signature flair on ‘Tale 4’.

The literary worlds Berg is channeling often represent alternate worlds to the ones we inhabit, reimagined as familiar but distant metaphysical versions of places in time. “Acoustic Tales” is the same – a window into a black and white slow motion landscape, embodied in a master class of modern classical composition, textural acoustic sound design and subtle electronic layering.

credits

released March 23, 2011

Artist: Field Rotation
Mastering: Nils Frahm
Photography: Ian Hazeldine
Filmography: Ian Hazeldine
Poetry: Estela Lamat
Digital: Facture
Physical: Fluid Audio

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