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The Slow Music Movement Blog

​Mostly we put our daily recommendations here for the blog readers among you, although occasionally we go longform.
Reading about music is a bit like looking at pictures of food - not nearly half as much fun as getting involved, so we scribble a brief intro to hopefully whet your appetite but you're better off just hitting play. Not very "slow" I know but there's a lot of music to check these days & hopefully you'll find the recommendations a handy filter.
​Trust your ears, not opinions.

6/12/2021 0 Comments

Leo Abrahams - Scene Memory II (Figureight)

WHAT YOUR EARS SAY & THE COVER LOOKS LIKE

WHAT WE SAY

​Succinct synth & guitar tones from Leo Abrahams flit around this largely convivial sonic gathering hosted by figureight, imbuing a warmth to proceedings & placating the tenser moments which seem never too far away in this age of misinformed opinion.

WHAT THE RELEASE NOTES SAY

Renowned London-based musician and producer Leo Abrahams returns to figureight records for the release of beautiful new album Scene Memory II. 

A profoundly skilled musician and producer, Leo Abrahams’ creative stamp represents a unique excellence. A Royal Academy of Music graduate, a collaborator of Brian Eno, Imogen Heap, David Byrne, Grace Jones, Regina Spektor, Jon Hopkins and Paul Simon (among others), a member of Krononaut with Martin France (and featuring Arve Henriksen and Matana Roberts), and a filmscore composer, Abrahams has released numerous solo albums and is credited with production, performance and arrangement on countless more. Visitations, his previous album for figureight records, a collaborative record with label boss Shahzad Ismaily, was described in review as “the meeting of two virtuosos”. 

“The record grew out of an Ableton Live Set that I built for a solo tour of Siberia in 2019,” Leo writes. “I wanted to create different sonic environments in which to improvise, generating a wide variety of sounds from a single guitar source while avoiding any looping or sequencing. I found the results were most inspiring when the patches had the ability to surprise me. I was seeking ambiguity and liminality in all areas: sound, genre and mood. A live concert was sometimes a challenging environment to explore these things, and the crowd was split every night; reactions ranged from rapt attentiveness from physics students, to outright anger from people who had been expecting ‘real' guitar solos. All the pieces on the record have their seeds in that tour, but were improvised without an audience in my London studio.”
 ​

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