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Woodford Halse

WF 46 - A Lunar Standstill

by David Colohan

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  • WF 46 - Limited Edition Cassette
    Cassette + Digital Album

    Pro-dubbed 10 track cassette with unique packaging including die cut outer sleeve, die cut j-card and a collectable cigarette card.

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Stoney Close 04:15
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about

On a rainy morning in January 2020 I visited the stone circles at Stanton Drew. It would not be true to say that I had the place to myself as the eerie atmosphere suggested a presence other than my own.

As I walked between the stones, chanting a made up song to whatever was there with me, the clouds parted & in beautiful Winter sunlight, the landscape felt radiant & ancient.

Chatting with some locals over a few pints in The Druid's Arms brought me back to the world as was.


"Inspired by a rainy day visit to the Neolithic stone circles of Stanton Drew in early-2020, the ten-track set – constructed using alto saxophone, clarinet, trombone, electric guitar, harmonium, field recordings, mellotron, modular synths and fleeting vocals – is quite an intimidating prospect at first. Laden with dronescapes that join the dots between the pagan, the liturgical, the spectral and the post-apocalyptical, the album does at times feel like a soundtrack selection in search of several films. Yet surrender the senses to a full airing – particularly on an appropriately murky afternoon – and its uneasy enchantments gradually come to the fore."
Concrete Islands, March 2023

“ I am triggered in a good way by the harmonium but much of this music gives off such a warm and pleasant hum that I started dreaming about Ivor Cutler as a Druid”
Duncan Edwards - Brainwashed.

credits

released March 3, 2023

David Colohan: Alto Saxophone, Clarinet, Electric Guitar, Field Recordings, Harmonium, Mellotron M4000D, Modular Synth, Trombone, Voice.

Recorded in Ballymahon & Stanton Drew
Mastered by Thomas Ragsdale
Original Woodford Halse Livery - Nick Taylor
Layout and Design - Mat Handley

See also:
davidcolohan.bandcamp.com

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David Colohan Ireland

'An eerie loveliness that should really be soundtracking a Werner Herzog film; indeed Popol Vuh’s work provides a useful reference point as, similar to Vuh, the music herein is almost religious in its solemnity and grace.' The Active Listener

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