Use of Ashes - Mousehill Daydream

Kenmerken

Conditie: Nieuw

Beschrijving

2005 EU issue on Limited to 300 copies.Shortly after releasing the mini album Albion Moonlight, The Use Of Ashes started the beautiful and enigmatic The Mousehill Daydream which received rave The first 200 being sold separately and the last 100 are...
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Release date: 08-05-2005

2005 EU issue on Limited to 300 copies.Shortly after releasing the mini album Albion Moonlight, The Use Of Ashes started the beautiful and enigmatic The Mousehill Daydream which received rave feedback. The first 200 being sold separately and the last 100 are combined in Various - Untitled, which is a "box" containing the first 5 ToneFloat/C releases.

Tracks:
A Mousehill Lakeside 16:45

B Mousehill Townside 16:55

Reviews:
Originating from Nijmegen, this band is truly unique to the barren and bleak musical landscape that is Holland. It's hard to believe that this ensemble has the same birthplace as that of bands such as Ayreon. This collective excells in modesty and creating an ethereal atmosphere which is constant throughout the album.

“The Castle of Fair Welcome” is an amalgamation of krautrock, folk, psychedelic and ambient and seeing how this was originally released in 1988, many of the influences I had in mind for it were not even active yet. Disregarding the obvious timeline flaws, there's definitely some overlap with bands such as: (Early) Porcupine Tree, No-Man, Pink Floyd, Kraftwerk, Magma, Tangerine Dream
and in some instances Tortoise or indeed even The Beatles.
Despite the 20 odd years difference between its intitial release and my first listen, it's hardly dated. The two short throw-away songs “Eve of Seperation” and “Where The Fish Can Sing” are the only blemishes on a record that has otherwise withstood the test of time.
The use of soundcollages with recordings of radio broadcasts, explosions, thunderstorms and environmental sounds, have been ingrained in the music in an intruiging and non-contrived way.
Amplifying its character are passages of exotic instruments like the mandolin and bouzouki in juxtaposition to an omnipresent synthesizer and a sporadic saxophone.

As a whole, this record sketches an aerial picture outlined by convincing use of a diverse instrumentarium, hushed vocals and an overall clarity, always contributing to consistency and balance without getting trite. Individually, only a few songs stand out, but by grading the songs seperately you'll deny yourself a seemless dreamy experience.


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