00-c_duncan-architect-2015-erp.nfo
Artist | C Duncan
Title | Architect
Genre | Indie Format | Album
Source | CDDA Time | 48:18
Label | FatCat Records Store | 2015
Catalog | FATCD130 Rip | 2015
Bitrate | 250 kbps Size | 91.08 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
01. Say 4:01
02. Architect 3:44
03. Silence And Air 3:41
04. For 3:51
05. He Believes In Miracles 3:07
06. Garden 4:18
07. Here To There 3:49
08. By 3:38
09. New Water 4:21
10. Novices 5:25
11. As Sleeping Stones 4:23
12. I'll Be Gone By Winter 4:00
Glasgow's C Duncan, born 1989, is the son of two classical musicians.
Surrounded by music throughout his childhood, Christopher initially took up
piano and viola. His teens led him to school bands - learning to play
guitar, bass and drums - but did little to quell his fascination with the
composition and performance of classical music. He eventually enrolled in
Royal Scottish Academy of Music and Drama (now the Royal Conservatoire of
Scotland) to study music composition, where his pieces were performed by
various ensembles across the UK.
To hear C Duncan's music now is to grasp those two common threads between
his interests in classical and modern music. The pieces that make up his
debut LP are formed from lush choral harmonies and acoustic
instrumentation, textured like contemporary dreampop and all recorded at
home in Glasgow on his bedroom studio setup, gradually built up one layer
and one instrument at a time. The results of this methodical and
isolationist recording process give us charming lo-fi folk with the
harmonic width of choral composition, the sweetness of barbershop and the
rough eloquence that has so readily soundtracked Glasgow over the past
decades.
"Architect" showcases a huge breadth in Christopher's songwriting
abilities. Lead singles "Say" and "For" are characterised by their
gentleness and warmth, while "Garden" (released as a single with the album)
is bright, sunny, irrepressible. On the other side, "By" and "Novices" draw
more overtly from Christopher's interest in electronic music and modern
composition. He references The Knife and Arvo Part as willingly as Burt
Bacharach and The Carpenters. Add to that shades of Talk Talk, Fleet Foxes,
Grizzly Bear, The Ink Spots and the classical and choral compositions of
Maurice Ravel and Gabriel Faure, and a picture of the record collection
that informs Christopher's music starts to become clear.
|
|