121CD - frostlake - The Weight of Clouds - CD plus download

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Description

The Weight of Clouds is the third album for multi-instrumentalist frostlake (Jan Todd) and is a double length box of delights.  It is a large collection of songs written 2020-2021, when staying in was the new going out.

 

It builds on the debut CD White Moon, Black Moon’s observation of the natural world and the second CD Ice & Bone’s reflection and personal memories. This new album takes a step into daylight towards skies and stars, away from dark dreams and horrors, but still maintains an unsettling, eerie calm in very British psychedelia.

 

A strong song-writing partnership has developed between Jan and Terry Todd and half of the material is co-written. Terry Todd’s acoustic bass and 12 string guitar hold together rolling rhythms in psychedelic soundscapes, often made otherworldly with Jan Todd’s hushed or layered, soaring vocals. The more organic voices of assorted acoustic instruments blend into atmospheric electronics, giving that distinctive frostlake feel.

 

The Weight of Clouds is an eclectic mix, from the bold and upbeat cinematic, quirky or stripped back guitar and vocals, to the ambient or quietly pastoral and is one to dip into time and again.

frostlake - Jan Todd - vocals, voices, lyrics, acoustic/electric/12 string guitars, E-bow, floor harp, cross strung harp, soprano lyre, jouhikko, alto tagelharpa, viola, e-violin, clarinet, melodica, Hulusi flutes, Idiopan, Korg MS2000, midi keys, Korg wave-drum,

Drum creations, percussion, electronics, field recordings.

 

Terry Todd - acoustic-electric bass guitar, 12 string guitar.

Reviews

Frostlake centers around multi-instrumentalist Jan Todd (with assistance on acoustic/electric bass guitar and 12-string guitar from Terry Todd), who, on this third outing, strikes aural gold. Not that the previous two releases were but prelude, mind you. It just seems boldly apparent that Todd’s opened up vast, unheard worlds in his quest for the ideal copy. This entire album simply soars, adrift on the kind of strange, otherworldly cadences that so besot some of the finest British psych and experimental mindsets propagated throughout the 60s and 70s, when rock music wasn’t content with the vagaries of popularism and sought to reinvent itself in often arresting ways. Frostlake upholds those legacies without aping them wholecloth, both absorbing past influences and sucking the listener to its pastorally-piquant vortex. Jan Todd’s heavenly vocals, delicately threaded throughout the album's gentle fires, suggest shafts of sunlight glimpsed betwixt fog-enshrouded woodlands, the rustling of pinecones by unidentified fauna, and all sorts of Lewis B. Carroll hallucinogenics magically brought to life. The elegiac “Liquid Life”, with its miasmic coos and silvery whispers, augmented by will-o’-the-wisp electronics, soft-pawed beats, and the trilling throb of holiday-season bells, reveals this recording’s inventive soul in microcosm. But the delights hardly end there: “Give It Time” and “In the Stars” might be the bastard offspring of Lemon Kittens and the Legendary Pink Dots glimpsed through rose-colored glasses, with a decidedly feminine bent. And the acousmata of the closing “Clouds”, awash in airy drift and heavy-hearted melancholia, serves as nothing less than the perfect coda to Frostlake’s latest, enigmatic offering. - Darren Bergstein, Downtown Music Galley, NYC

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Mit The Weight of Clouds (Discus 121) bringen frostlake nach „White Moon, Black Moon“ und „Ice & Bone“ ihr neues Songalbum. Terry Todd ist an Bass- & 12-String-Gitarre wieder der treue Schatten von Jan Todd, die bei der folkloresken Intonation ihrer Poetry selber schon mit Gitarren, seltsamen Harfen, Lyra, Jouhikko, Talharpa, Bratsche, E-Bow, E-Vio­lin, Klarinette, Melodica, Hulusi, Stahlzungentrommel, Drums, Percussion, Midi-Keys und Korgs Althergebrachtes mit Hitech zeit- und hautnah erscheinen lässt. Britisch-pastorale Psychedelia also in der 'Electric Eden'-Tradition, und Jan Todds heller Gesang schwebt da ätherisch zum heartbeat of the Earth am Gegenpol zu Loot, Loathing and Lunacy. Dabei nennt sie neben Raubbeuterei, Hass und Wahnsinn Liebe als erstes, das Menschen zu Killern macht. Sie sehnt sich nach another strange land als wahrem Zuhause. Geleitet von einer Licht-Gnosis mit umgekehrten Vorzeichen, eine, die sich Schritt für Schritt ins Dunkle wagt, weg von den Seelenlosen, hin zu den verborgenen saviours of light. Einem Licht, das im Dunkeln scheint, anders als der falsche Schein, der die Guten wie Motten anzieht, die sich in Lügengespinsten verfangen, statt ins Blau und Gold einer Blumenwiese zu finden. Gefangen im eigenen Kopf, während draußen eine andere Welt wartet. Das Leben zerrinnt wie Regentropfen an Fensterscheiben, die vom wahren Leben trennen. Vergehen die Sorgen, die Träume, die Missverständnisse mit der Zeit, wenn man sich die Bettdecke über den Kopf zieht? Der Traum, sich als Albatros frei ins Unbekannte zu schwingen? Das aber ist so fern wie ferne Sonnen. Während wir, statt Vater und Mutter zu verlassen und dem Traum zu folgen, vor Anker liegen. Aber wer will die Treue und ein Herz brechen, um einer Verlockung, einer neuen Liebe zu folgen? I'm not free, don't want to be. The weight of responsibilities wiegt schwerer als Wolken. 'What Remains' ist die verrinnende Zeit, the caesium ticks on and on. We'll all melt away in photons. Einsteins Formeln, Einbahnstraße, freier Fall towards the sun. Wir alle: Keepers of the hours here on Earth. Sie, die Erde, und die Sprache sind unsere Behausung auf Zeit. Und ist Todd nicht eine jener Denkenden und Dichtenden, die Heidegger Hirten und die Wächter dieser Behausung genannt hat und dass ihr Wachen das Vollbringen der Offenbarkeit des Seins sei?Rigobert Dittmann, BAD ALCHEMY

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