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A Colour for Autumn

Lawrence English

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Reseña de álbum

Gorgeous. This is by far Lawrence English's most gorgeous album to date, and the man has released his share of beauties. A Colour for Autumn is presented as the second installment in a series of reflections on seasonal transit initiated with For Varying Degrees of Winter. As on that album, the music consists of delicate changes and minute gradations leading from one atmosphere of crystalline tones to another. Unlike that album, though, the overall vibe of A Colour for Autumn is warm, embracing, caressing. English's music is usually a subdued form of ambient electronica wrapped around a conceptual core, and that is the case once again, although he truly surpassed himself here in lulling and transporting the listener. Kiri No Ota (Touch, 2008) had noise-like moments of grittiness, and It's Up to Us to Live (Sirr, 2009) was disquieting at times and somewhat bleak, but here, it's as if English had deliberately wanted to transport the listener on the smoothest possible ride — without falling into the new age trap — minus a little bump or two to keep things from getting too comfortable (like the shift four minutes into "Stillness in Motion"). Dean Roberts lends aerial vocalizes to "Droplet" (the longest track at a few seconds under seven minutes). Also, Christian Fennesz plays electronics on "The Surface of Everything," his contribution being both identifiable and seamlessly integrated to the sound palette of the album. A Colour for Autumn is not a thought-provoking CD, especially if you are used to the experimental ambient genre, but it's marvelously elegant, without a single second wasted. A highlight in the discography of this Australian sound artist, and a sure-fire year-end list pick. ~ François Couture, Rovi

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Headphone Commute Review

In my first revisit to the best ambiance of 2009, I turn to Lawrence English and his last masterpiece, A Colour For Autumn. More than a year has gone by since this 12k release, and yet another fall is here, just as gray as the last one, begging for some touch of color, even if it’s in the mid-range frequencies. Australian sound artist, Lawrence English has already released many amazing of albums on his very own, Room40 label, as well as our favorite Touch and of course, Taylor Deupree‘s 12k. A Colour For Autumn seems to follow in the footsteps of his previous release, For Varying Degrees Of Winter (Baskaru, 2007), thematically tailored for seasonal transit, cycles, and weather. “Like all environmental phenomena, seasonal variation is highly localized, and expressed not only visually through vegetation etc, but also sonically as insect life, leaves under foot and fauna all change in response to the climatic shifts.” Bathed in field recordings and micro-tonal ambient pads, the sound at times swells towards harsher edges, then retreats with acoustic textures. Synthetic blends with organic, as the continuous beeping of the telephone’s tone, blends on top of guitar strums and synth sweeps. Recorded during two years (2007-09), each piece serves as an “auditory portrait” (a produced version of our Sound Postcards), capturing a unique experience of Autumn from the southern hemisphere. With a few contributions from Dean Roberts and Christian Fennesz, this album shall soothe and warm the weary bones in the windy days to come. Check out the recent releases by Lawrence English on Touch – Incongruous Harmonies as well as his latest collaboration with Minamo on A Path Less Travelled (Room40, 2010).

A Colour for Autumn, Lawrence English
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