san francisco, march 2012: the scottish delegation arrives on the sun-drenched american west coast. studio is rented, microphones selected, supplies procured. 7 days later they emerge, blinded by the light.
oakland, december 2013: over the course of 7 more days some 12 hours of raw materials are in turns cajoled, caressed, genetically modified and burnt beyond recognition, at long last distilled into the 12 pieces we present you with here.
as these recordings utilise piano, organ and keyboard as the most salient sound sources they will no doubt remind some listeners of last year’s ‘vietnamese piano’ release. in point of fact the present recordings were completed some months prior to the session in hanoi that produced clade 2.5, but while that release was effectively entirely improvised the ‘klavierstücke’ have undergone a much more rigorous process of composition, editing and post-production. at once delicate, haunting, and cinematic, the result is the most mature and rewarding clade release to date.
file next to: deaf center, stars of the lid, jonathan coleclough, AMM, harold budd with a migrane
with apologies to k.s.
"...the comparisons it is more likely to draw are with Music For Airports, Clade’s consonant, pure notes being captured as lovingly as Eno's revolutionary recording from 1978. But whereas Music For Airports was designed for use in the background, a pacifier even, Clade's comparatively fuller-sounding Klavierstücke demand close listening and is more likely to inspire a range of emotions in would-be passengers, some of which would seem unsuitable for plane flight." - Russell Cuzner, Rum Music (TheQuietus.com