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Lucy Railton
Blue Veil
Ideologic Organ
Her first solo cello album, ‘a deep exploration of the inner worlds of tuning’, recorded in the Eglise du Saint-Esprit church in Paris by Kali Malone and Stephen O’Malley.
‘Railton’s explorations in harmony emerge from a focus on the physical qualities of intervallic and chordal sounds, their textural qualities, degrees of friction, and inner pulsations. Composing in the moment guided by resonances within the cello’s body, her own, and their shared vibrational space, Railton gives sounds what they ask for: sounds of pure texture manifesting as a move through temporal transparency, sounds of rough texture marking regions of dimensionally dense space. Railton’s creative and highly refined use of just intonation harmony deforms sound’s inner movements in ways that suggest a mode of listening that actively supplies imagery of sounds implied or completely absent rather than merely savouring those fully present. Railton calls it ‘sing-along music’.’
Reissued at last.
The three-CD set is the original 2019 release.
‘Twelve pieces, scored for choir, brass and pipe organ…
‘The pieces for organ slowly shift and evolve as textures and harmonic patterns reappear across the album alongside moments of dissonance, although the latter are more fleeting and less extreme than in Malone’s previous work. She frequently resolves into one long, sustained chord, as on the trance-inducing No Sun to Burn.
‘The tracks using brass force you to consider the nature of the instruments themselves. The music is no less mournful in tone than the organ pieces but somehow feels more declamatory: the ghost of a fanfare clings to it despite everything.
‘Despite its minimalism, this is not music that feels dry or emotionally austere. There’s a genuinely affecting melancholy about Prisoned on Watery Shore, while Moving Forward invokes a kind of contemplative calm. It’s also music that feels strangely malleable. Listened to on headphones, at volume, the organ pieces can feel overwhelming and transportive, the slow motion at which they move sucking you in and temporarily obliterating the world outside. But played on speakers at a lower volume, they act as hugely effective ambient music, lending a contemplative chill to your surroundings’ (Alexis Petridis, The Guardian).
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