#colin stetson

[swankyangles]

I Win.

[brokehorrorfan]

Uzumaki's anime series soundtrack is available on vinyl for $31 via Milan Records. Shipping November 15, the score is composed by Colin Stetson (Hereditary, Texas Chainsaw Massacre).

The album is pressed on 180-gram black and white spiral picture disc vinyl. It's housed in a jacket featuring new artwork by Uzumaki creator Junji Ito and a 12x12 insert.

[biohorror-human]

Ari Aster popped off so hard with collaborating with Colin stetson on hereditary. Out of all of his films, hereditary has the best soundtrack, and it shows. You literally can't get better when it comes to "surreal horror music" than Colin Stetson. Beau is afraid and midsommar's soundtracks are both made by Bobby Krlic, who is good, but noticeably NOT as good as Colin Stetson.

DUDE. For the love of fuck please listen to Colin Stetson. Anyone who sees this, listen to his albums "New History Warfare Vol. 2" and "Never Were The Way She Was". PLEASE. for the most part, every song is created in one take, and every sound is made by one saxophone.

"but how can it be one saxophone? I can clearly hear some percussion instruments and vocalizing" that's the saxophone. He recorded NHWV2 live, in a studio, with 20 microphones in different places to capture different sounds. That means every song was played in one attempt, with no looping sounds. The only time you're hearing something that isn't Colin Stetson is when someone else is singing or playing another instrument, but the songs are overwhelmingly just Colin Stetson going fucking bonkers on the sax in a way I am 100% CONFIDENT YOU HAVE NEVER HEARD BEFORE.

Let's take Judges, one of the most listenable songs in NHWV2: The percussion? That's the sound of the keys being slammed down, picked up by mics on the back of the sax. The high and low notes are created by him opening or closing his throat. That's normal right? Except that there's also a wailing vocal line. That's HIS vocal chords. He is actively singing while playing sax.

But there's one more thing. Those 3 things already being grouped together weren't enough, he also never. stops. playing. The full 5 minute runtime of the song, the saxophone never stops. This is because he's using a technique called circular breathing which I can't even do WITHOUT an instrument. But basically, blowing out air stored in your mouth while breathing in through your nose. And he does this for five straight fucking minutes. It is a beyond Herculean feat of strength to be able to do that for 5 minutes alone, and add on top of that playing an instrument in such a unique way AND actively vocalizing???? Yeah. Fuck it. Whatever. Colin Stetson is the best saxophonist in human history. Ari Aster HAS to bring him back for his next film. Bobby Krlic is cool but Colin Stetson fucking blows every other instrumentalist out of the water.

[jgthirlwell]

playlist 09.25.24

Greco Bastien Wahlf More F (Bandcamp) Papangu Lampiao Rai (Repose) Jesus Lizard Rack (Ipecac) Vennart Forgiveness and the Grain (Bandcamp) Gong Unending Ascending (KScope) Messaien Des Canyons Aux Etoiles (CBS) Ni Fol Naïs / Pantophobie / Les insurgés de Romilly (Dur Et Doux) Pink Lady Monster Psychic Antennae and a Tinsel Heart (Witch Cat) Jack White No Name (Third Man) Jed Kurzel Samaritan OST (Lakeshore) Maurice Fanon Master Serie (Podus) Ross Feller X/Winds (Innova) King Dunn Eat The Spray EP (Am Rep) U96 and Wolfgang Flur Transhuman (UNLTD) Flux Information Sciences Last Mixes (Bandcamp) Colin Stetson The Love it took to leave you (Envision)

[darktripz]

UZUMAKI - Anime Series Original Soundtrack

Music by Colin Stetson

Original cover art by Junji Ito

[claybefree]

So this is where I lived once upon a time and I wrote a little something about it.

[bluetapes]

My favourite releases of 2024 not on Blue Tapes!

Various - Transa (Red Hot Org)

Over 100 trans and non-binary artists and allies combined to make this 46-track album that explores trans identity across six thematic chapters. Could be the only time you'll hear Beverly Glenn-Copeland and Sam Smith on the same album.

Nala Sinephro - Endlessness (Warp)

A gentle, inspired sonic voyage that pretty much anyone who loves music could get into. Jazz music that goes far beyond genre. This is only Nala's second album, so excited to see where she arrives at next

Jacken Elswyth - At Fargrounds (Wrong Speed Records)

Jacken's debut solo LP is a joyous collection of traditional folk tunes and improvisations. Very different to her work with GUE for us but still very special. 2024 has truly been the year of Elswyth!

Taylor Deupree - St.II (12k)

Taylor recreated a 2002 glitch LP as a chamber music piece with the help of producer and arranger Joseph Branciforte. Impossibly beautiful and inspiring stuff reminiscent of William Basinski's triumphant live orchestral reworks of The Disintegration Loops.

Colin Stetson - The love it took to leave you (Invada)

"The love it took to leave you is a love letter to self and to solitude and to tall old trees that sway and creak in the wind and rain," Colin says. It's also maybe his beautiful work yet. Just when you think you'd heard it all, he pulls this out.

Amirtha Kidambi's Elder Ones - New Monuments (We Jazz)

Supreme contemporary jazz that draws on a flotilla of influences to achieve something really unique and special. Like Nala Sinephro and Other Light Ensemble, Elder Ones brought electronics into jazz without it feeling like a bolt-on.

Crizin da Z.O. - Acelero (QTV)

Kicking off 2024 with a bang was this absolute thumper of a record, released in early Jan. Stuttering, glitching, machine-heavy carioca funk featuring Sepultura's Iggor Cavalera, as all good records seem to do these days.

[animebackgroundmusic]

"Hey! Are you trying to escape?!" by: Colin Stetson from: Uzumaki

[iamlisteningto]

Colin Stetson’s The love it took to leave you

[kurulover]

MUSIC YOU CAN BREATH

[ruiditos]

The love it took to leave you - Colin Stetson (2024)

[dustedmagazine]

Brìghde Chaimbeul — Carry Them With Us (tak:til)

First of all, for any interested non-Gaelic speakers, the young Scottish piper’s name is (per her own site) pronounced “Bree-chu CHaym-bul.” And secondly, while the music found on this, her third album, sounds like what most would identify as bagpipes, it’s… well it is and it isn’t. To the extent that bagpipes are known to the wider world it’s something like the great Highland bagpipe (musician blowing into a reed, pipes extending over shoulder). Chaimbeul can certainly play that too, but she specializes more in the Scottish smallpipes, a bellow-driven instrument of more recent vintage (the 80s!) albeit from a lineage going back hundreds of years. The details are worth noting up front, because the music on Carry Them With Us is so viscerally enchanting it might be hard to keep track of them once you’re mid-listen.

Both varieties of bagpipe share some seemingly contradictory qualities. Drone instruments that (due to the various chanters used and other aspects of their design) can handle complex, fast-moving melodies; intensely analogue devices that, due to their precision and lack of sonic decay, can feel almost electronic in nature. Capable of simultaneously evoking melancholy and spritely joy, one on its own, played well, can fill a whole room with sound almost to the point of oppression. Unsurprisingly for a musician who’s been winning awards since she was a teen, Chaimbeul is an exceptional player of the smallpipes and from the opening blast of “Pililiù: The Call of the Redshank” these 35 minutes practically put on a clinic on why any listener might want to get to know them.

Not that Chaimbeul is strictly solo; after Canadian saxophone dynamo Colin Stetson reached out to her about a documentary soundtrack, the two of them wound of working together on six of the nine tracks here. If you’ve never previously considered the way sax and bagpipe might sound like each other, or take on similar roles, or complement each other, their completely natural fit here might take you aback. Stetson fans are well aware of the head of steam he can build up, but Chaimbeul’s no slouch either; a track like “Tha Fonn Gun Bhi Trom: I Am Disposed of Mirth” already feels delirious before you notice Stetson’s whirling flutters unspooling in the background. Even when their roles diverge more, like the impossible to miss saxophone tessellations towards the end of “’S Mi Gabhail an Rathaid: I Take the Road,” they feel like kindred spirits.

The most notable element aside from Chaimbeul’s pipes and Stetson’s sax is her voice, singing in Gaelic. It only shows up a few times but it’s an arresting presence whenever it does. Maybe if you speak the language it turns out she’s singing about something more mundane, but based on the song titles here and the incantatory, almost vatic feeling those passages bring to the rest of the music it’s hard not to feel like there’s something of deep significance being passed on. Like the rest of Carry Them With Us, it's intensely striking.

Ian Mathers

[venusintheblindspots-blog]

just finished watching the first episode of the uzumaki adaptation, and let me just say, it was amazing!!! literally one of the best adaptations i’ve watched this year!

and the soundtrack??!!!! ate!!!!!

[ratethisalbum]

#173) When we were that what wept for the sea

Colin Stetson

Suggested by: Anonymous

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Bandcamp ~ Spotify ~ Youtube

(Remember to listen first, then rate!)

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Tracklist:

The Lighthouse I

When we were that what wept for the sea

Infliction

Passage

Long before the sky would open

One day in the sun

Fireflies

The Lighthouse II

The Lighthouse III

Writhen

The surface and the light

The Lighthouse IV

Behind the sky

Wrathful seas quiesce

The Lighthouse V

Safe with me

[musicollage]

Tim Hecker — No Highs. 2023 : Kranky.