Janet Feder / T H I S C L O S EФормат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Год издания/переиздания диска: 2015 Жанр: Avantgarde, Experimental, Acoustic Издатель(лейбл): Brainbox Music Продолжительность: 00:46:46 Наличие сканов в содержимом раздачи: Да (сканы)Треклист: 01. Crows (4:55) 02. Ticking Time Bomb (4:07) 03. Happy Everyday, Me (2:56) 04. No Apology (3:31) 05. Happy Everyday, You (2:50) 06. You As Part Of A Whole (4:59) 07. Angles & Exits (5:41) 08. She Sleeps With The Sky (7:02) 09. T H I S C L O S E (10:33)Контейнер: ISO (*.iso) Тип рипа: image Разрядность: 64(2,8 MHz/1 Bit) Формат: DST64 Количество каналов: 5.1, 2.0
Janet Feder – Baritone Guitars, Electric Guitar, Banjo, Voice, Plucked Piano, Prepared Hammer Dulcimer, Sounds ~ with: Todd Bilsborough – Percussion (tracks 4 & 6) Kal Cahoone – Backing Vocal, Accordion (tracks 1 & 2) Marc Dalio – Percussion (track 1) Elaine DiFalco – Accordion (track 7) Mike Fitzmaurice – Double Bass, Bass Harmonica (track 2) Paul Fowler – Piano (inside & out), Voice (tracks 3, 6 & 8) Mark Harris – Bass Clarinet (track 2) Amy Shelley – Percussion (track 9) Joe Shepard – Studio Door (tracks 1 & 8) Mike Yach – Electric Guitar, Bass, Cymbaled Spring (tracks 1, 4 & 9)
allaboutjazz.com Review By EYAL HAREUVENI Published: December 3, 2015
Janet Feder: T H I S C L O S E Colorado-based guitarist Janet Feder has developed a highly personal musical language, drawing inspiration from folk, jazz, minimalism, classical, avant-garde and even pop. Since the early nineties she began experimenting with her guitar, preparing it in different tunings, attaching objects to the strings, developing a unique original sound of her own.
T H I S C L O S E, her fifth solo album, is Feder's most fully realized album, featuring nine haunting songs. She manages to create a intimate sonic atmosphere in each of these songs, still, each sounds as a distilled essence of a much larger and deeper musical idea, leaving the listener with lingering thoughts. In these songs, Feder explores the timbral scope of her prepared guitars, let these instruments resonate in the studio space, surrounding the guitars with delicate handmade and found sounds and minor instrumental contributions from an impressive set of supporting musicians.
On three songs, including the opening "Crows" and "Ticking time Bomb," Feder sings in a fragile, unassuming voice, gently manipulated in the studio. Her singing intensifies the delicate, deeply emotional core of her songs. This kind of intimate fragility, as "Ticking time Bomb," is dressed with disturbing, vivid images contrasted with the simple plucking of Feder banjo and the contemplative playing of Mark Harris on the bass clarinet. The touching "Angels & Exits" is the most beautiful one, delivered with Feder disarming honest voice.
Some of her instrumental pieces, as "No Apology" and "You As Part Of A Whole," have an elusive, cinematic quality, suggestive of lonesome, distant, barren scenery. Others as "Happy Everyday, Me" and "Happy Everyday, You" are charged with innocent optimist spirit. The instrumental title-piece is the most complex one, confronting intricate layers of spare, fractured guitar lines with a dense of dark atmospheric sounds.
Unique and highly moving music.
theprogressiveaspect.net Review Article by: Jez Rowden
From Denver, Colorado, this is different.
Janet Feder plays guitar and sings. Nothing unusual there perhaps but she does it in a particularly unusual way. T H I S C L O S E is Janet’s fifth album having started out with folk and rock before finding her own unique voice. More intimate than any of her previous releases, the sensitive nature of the recording sessions attempts to allow the listener into Janet’s three dimensional space of guitar and found sounds to give a particularly emotional experience. And it does sound good, the sparsity of the notes shimmering amid the well placed augmentations.
For the bulk of the album the voice takes a sidestep to allow other sonic discoveries to come to the fore as Janet often “manipulates” the instruments rather than simply playing them. She doesn’t use pedals but changes the colour of her sound via the strings and by placing a range of small objects onto them to alter the textures, opening up the sonic palette, as discussed in the video below. Working closely with her production team of Joe Shepard and Mike Yach, Janet has invented a sound world where her songs can live and breath, where anything is possible within an environment of enthused experimentation.
Of the nine tracks, three have vocals, Janet’s voice being very pleasant and particularly suited to the sparseness of the songs, as on Crows where it has an “underwater” quality within a backdrop of echoed sounds that often verge on howling. It’s a great opener, the listener immediately drawn in by the depth of the production. Ticking Time Bomb changes tack by adding banjo, the beautifully clear vocal supported by clarinet and accordion in an almost hollow sound that allows the air to get in. Towards the end the mood changes as the tranquillity is shattered, the space filled with dissonant smashing. Angles & Exits is beautifully melancholic with Janet’s fragile voice the focal point. Just gorgeous and one of my favourite tracks on a spellbinding album.
This individually feminine approach to the guitar is both fascinating and refreshing in a world of powerhouse playing and otherworldly dexterity. The sounds produced are there to be listened to, not to form a backdrop to other activities, and this is what Janet is seeking; like-minded souls who enjoy both the making of sounds and listening to the results. Janet says of T H I S C L O S E:-
“Even though it sounds like me, it’s something beyond…and it also feels like an arrival at the culmination of, well, everything that got me here. Previous albums felt like they happened in my head; T H I S C L O S E feels like it emerged from somewhere between my head and my heart. I’ve never made more intimate music. It’s OK by me however it lands for my listeners. I played what I wanted to hear, because I could hear myself more clearly than I was ever able to in the past. And I played what I wanted to play because….I could.”
The central part of the album acts as a loose suite of seemingly connected pieces, snatches of melody appearing within a swirl of disjointed sounds, some minute, some more forthright, the whole thing is a fascinating listen. Happy Everyday, Me has more of a folk feel, a strident guitar melody supported by piano with small extraneous sounds filling the gaps. Sustained and textured electric guitar, percussion and sporadic acoustic guitar colour No Apology, think Ry Cooder’s Paris, Texas and wide open spaces under a burning sun. Chords are left to evaporate in Happy Everyday, You suggesting the vast sweep of a seemingly endless plain, before a picked melody line takes its place. Lilting guitar manifests You As Part Of A Whole, percussion giving the sensation of a light breeze through a tree decorated with small metallic objects.
The last two tracks are by far the longest here; a symphony of disembodied sounds and filigree melodies to relax the listener. She Sleeps With The Sky moves through movements in a quiet landscape with only the weather for company, a breathy wind distorting the stillness before an unexpected and urgent guitar part changes the direction. A pause and then the 10-minute title track, unsettling percussive sounds gradually emerging with sporadic guitar chords surfing over them. It gets angrier and more aggressive but eases into a hypnotic state with the perpetual rhythmic rattle that inhabits the piece. And then it stops. Distant echoes, distorted piano rumbles, a sound collage. The most disturbing piece on the album, not much happens – but it happens in a majestic way. A brave way to finish.
The attention to detail within this album is extraordinary, all credit to Joe Shepard and Mike Yach, and of course to Janet Feder who is another artist of rare individual talent that I am glad to have had the opportunity to hear.
Well worth investigating for quiet and intimate listening during those relaxed moments. It isn’t exciting and singalong but it is most certainly enthralling and completely absorbing.
parttimeaudiophile.com Review — by Paul Ashby
20150330_daliophoto__DSC7602-CJanet Feder is from Boulder, Colorado. She’s a songwriter, a singer, and plays a custom-made nylon string baritone guitar. Sometimes she treats the strings with thread and metal objects. Her orbit includes folk and avant-garde, yet her music isn’t any of those things. Or maybe it’s all those things … while totally eclipsing the sum of its parts.
Janet brings substantial musical heft to the table.
Her newest self-released album, T H I S C L O S E, has been available digitally for months now; I’ve been listening to the FLAC version since its May release. The vinyl, CD, and DSD files, however, were just issued in November. An SACD with a 5.1 mix is expected soon.
On paper, some may feel tempted to approach Feder’s work with caution. Artists with an avant-garde background sometimes build barriers — a calculated alienation, a certain brand of affected disaffection. It’s a conceit that can send the intrepid music journalist scrambling (more than usual) for the thesaurus.
Janet Feder isn’t about walls. Time spent with her recordings is not, in Laurie Anderson’s words, Difficult Listening Hour. The listener won’t be held at arm’s length. Unfortunately (for me), this approachability doesn’t make communicating her appeal any simpler. In this case — barriers or no — I’m tempted to just recuse myself from reviewing this new album of hers, because I’m concerned I like it too much (yes, this is all about ME).
So how close is T H I S C L O S E?
Most of the instrumentation is fairly sparse, with exception of the opener, “Crows.”
A rumble of flammed toms is the fanfare for Feder’s heavily-filtered vocal. Reverb is everywhere; the atmosphere is languid, dreamlike. Janet’s spidery guitar lines spin silk around the percussion. The song’s dark feel is buttressed by heavily effected, sustained guitar solos by engineer/co-producer Mike Yach. Headphone listening reveals a Lanois/Le Noise-type vocal mix, where snippets roam from channel to channel, then disappear and reappear, altered, via appropriately warped analog effects.
This is like nothing Janet’s ever recorded, yet it’s still a…well, thoroughly Feder song. When “Crows” concludes, it’s like finally surfacing after being under water a few seconds too long.
“Ticking Time Bomb” follows. A Bruce Langhorne-esque banjo is plucked somewhat hesitatingly. Bass clarinet wanders up and down the scale and an accordion washes and wheezes, sounding as though it’s working up the gumption to mimic a pedal steel guitar.
If I could be you I’d know what to do but I am not you are you at least that much is true underneath my pillow sewn between the sheets there are no more words even when I speak.
FederFormatsThe breezy vocal shows Feder at her most confident; it also seems dissociated from the disjointed accompaniment. After a couple of verses, the instrumentation breaks loose: there’s a fusillade of fragile things shattering on the floor a la Joy Division’s “I Remember Nothing.” When the song finally lurches to a close, the coda is the faint horn of a distant train.
Following the two vocal compositions, the majority of the rest of the album is instrumental, and it’s on those songs that Janet’s guitar stands out. There’s a unique rhythmic groove that sometimes seems transposed from Joni Mitchell’s best playing, say, on “Amelia” or “Hejira”. Some of the instrumentals are freeform-ish, and some more composed. In the latter camp, the guitar/piano duet “Happy Everyday, Me”‘s churning, focused, driven energy springs from Feder’s guitar, which seems less prepared (as in treated) than on some other tracks. “Happy Everyday, You” showcases her prepared guitar talents, with some impressively nuanced stringed acrobatics.
“No Apology” and “You As Part of a Whole” veer into more freeform territory, with improvisational space moving to the forefront. “No Apology” features very distant (and then very present) sustained electric guitar drones and feedback from Mike Yach. “She Sleeps With The Sky” goes through several mood changes. A faint background of crickets, however, is a near-constant. Paul Fowler’s mulitracked, wordless voice — alternately wraithlike, then Mellotron-heavenly — is woven through the latter portions of the song. It’s a high point of the lyric-less tunes on the album, and benefits from high-volume headphone listening.
T H I S C L O S E‘s title track is an instrumental with Morse code-esque bleeps, improvised (?) intermittent chording, roaming reverb, and an extended “barely audible” ending section that reminds me of the closing bell-drones of Eno’s “Some of Them Are Old”, albeit slowed to a speed that’s equal parts pleasurable and interminable.
While I’m invoking arbitrary comparisons, Hugo Largo’s sound comes to mind — stillness, depth, with the silence between the notes sharing center stage. I also sometimes think of Steve Tibbetts when listening to Feder’s instrumental pieces. There’s a similar breadth of emotion, a sense that the songs come from conflict, external and otherwise. There’s stories here, and even without lyrics — perhaps due to the absence of lyrics — those stories come across vividly.
The instrumentals are all excellent, and have their distinctly individual vibes. Janet’s vocal work, though, is where a good part of her maturation from album to album is most evident.
On her 2012 album, Songs With Words, there’s a song called “White Men Landing”.
It’s an understated gem that resonates long after the last chord has faded; it sounds better than ever three years later.
On T H I S C L O S E there’s a song entitled “Angles and Exits.” Feder’s been performing the song live for years, but this studio version is as close as it gets to definitive.
And if the song’s resigned, pensive intensity wasn’t enough to keep you on edge, Feder’s final harmonic chord takes a good twenty seconds to decay.
Great songs. Great stories. Well played. Keen songwriting. How’s the recording?
Super Audio Center’s 32 channel DSD rig at Immersive Studios in Boulder shoulders the responsibility. All effects are analog. The background is silent, black. The acoustic instruments have an uncanny, audibly tactile quality, the electric guitars burn, and the close-mic’d vocals make it seem as though the singer is inches from your ear. The DSD files have an eerily preternatural feel; the 24/88 FLACs are spookily real, as well.
The LP was pressed at Quality and my copy was devoid of surface noise, with a dynamic range blooming with blissful mids and bass. There’s a silkscreened deluxe LP package that whispers low-key extravagance: a die-cut sleeve with two color inserts, all wrapped up in a silkscreened box.
I’ve heard this album on LP, CD, FLAC and DSD, and listened to the transcoded MP3s on an iPad. I’ve played the CD on repeat in my truck’s trusty mid-fi Rockford Fosgate system, and streamed it to my backyard patio’s cheap Polk “weather-resistant” speakers. The 5.1 SACD mix, when it arrives, will test the mettle of what passes for my home theatre system. It’ll all be good. Great, even. You don’t need an audiophile pile of hardware to appreciate Janet’s music, but if you need something new and unique to show off your fancy-pants system, this is it.
Summation. You want summation? If you pressed me to define the genre occupied by T H I S C L O S E, I couldn’t. But I could venture some likely landscapes.
Like all the best music, this is road music. Whether that be crawling in freeway traffic, or on US395 north out of Bishop, or on a half-empty airplane at dusk heading west over the Rockies, or a more figurative, contemplative journey at night with headphones and a drink or two while staring out the window, watching it get dark.
T H I S C L O S E is at once intimate and open. There are no walls. Janet Feder is that close.
The album is available on Janet’s Bandcamp page. Its wholesale distribution is handled by Hostile City.
-------------------------------------------------------------------------------- Анализ: Janet Feder / T H I S C L O S E --------------------------------------------------------------------------------
DR Пики RMS Продолжительность трека -------------------------------------------------------------------------------- DR14 -6.95 дБ -26.44 дБ 4:55 01-Crows DR14 -7.45 дБ -40.30 дБ 4:06 02-Ticking Time Bomb DR6 -16.63 дБ -33.98 дБ 2:58 03-Happy Everyday, me DR15 -22.73 дБ -46.68 дБ 3:32 04-No Apology DR7 -17.33 дБ -35.60 дБ 2:51 05-Happy Everyday, you DR13 -16.72 дБ -44.51 дБ 4:59 06-You As Part Of A Whole DR7 -15.44 дБ -35.47 дБ 5:41 07-Angles & Exits DR11 -13.12 дБ -35.00 дБ 7:02 08-She Sleeps With The Sky DR17 -15.60 дБ -45.23 дБ 10:41 09-T H I S C L O S E --------------------------------------------------------------------------------
-------------------------------------------------------------------------------- Анализ: Janet Feder / T H I S C L O S E --------------------------------------------------------------------------------
DR Пики RMS Продолжительность трека -------------------------------------------------------------------------------- DR14 -6.34 дБ -23.37 дБ 4:55 01-Crows DR19 -5.38 дБ -32.99 дБ 4:06 02-Ticking Time Bomb DR11 -11.92 дБ -26.36 дБ 2:58 03-Happy Everyday, me DR14 -12.36 дБ -33.33 дБ 3:32 04-No Apology DR11 -12.91 дБ -27.26 дБ 2:51 05-Happy Everyday, you DR16 -10.36 дБ -33.01 дБ 4:59 06-You As Part Of A Whole DR12 -14.38 дБ -29.42 дБ 5:41 07-Angles & Exits DR14 -11.27 дБ -29.25 дБ 7:02 08-She Sleeps With The Sky DR18 -9.74 дБ -35.06 дБ 10:41 09-T H I S C L O S E --------------------------------------------------------------------------------
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