Recorded in Valencia and Gandia (Spain) in October 2005
Mixed October to December 2005
An unbelieveably great, new work from Paul Bradley, one of the new UK masters of drone music. With ‘Memorias extranjeras’, Paul works with very festive field recordings from Valencia, Spain. We hear the smooth, complex drone sounds which are his signature along with field recordings which he uses in ways which are perhaps not ‘typical’ of his work. The single 41 minute piece actually sounds like two separate but related pieces, each with its own mood. This work strikes a perfect balance between darkness and light, somberness and celebration. The music will satisfy the familiar while also introducing Paul’s work to an entirely new fan base with its excellent use of rhythm and other elements which are best left heard rather than described. (Alluvial)
On the back-cover of the new Paul Bradley CD, we see a tourist picture: people standing in a sunny street and when we read that this was recorded in Valencia and Gandia, both in Spain, we may know that this picture is made while recording the field recordings used. At the basis of all Paul Bradley music is the field recording. After that Bradley manipulates the material until is a stretched out piece of drone music and the original source recordings have disappeared. That’s why in the early days we thought it was a bunch of synthesizers. However for ‘Memories Extranjeras’ he has these recordings made in Spain, and he by and large does the thing he always does best but there is a slight difference. The original field recordings are here and there to be heard: at one point the rhythms of a marching band arrive out of a mass of sound and sounded like an odd counterpoint in this music. On other spots we hear the crowd cheering or talking in a reverbing hallway. This ‘revealing’ of sources is a quite nice new feature in this music. It doesn’t add a whole new perspective, nor does it break the good flow in this work, but at the same time, you feel that Bradley is slowly shifting interest towards new paths. I wouldn’t be surprised if he switches over one day and reduces the electronic processing in favor of the pure field recording. But that’s all for later. For now, Bradley added another fine work of drone music to his already nice discography. (Frans de Waard, Vital Weekly)
Un drone au milieu d’un carnaval, comme un héritier du Jamaica Heinekens in Brooklyn de Charlemagne Palestine peut-être? Quelque part (je ne sais plus où et j’ai la flemme de chercher), j’avais lu l’expression ‘érotisation de l’écoute’ à propos de ce disque, et c’est exactement ce dont il s’agit ici. Paul Bradley reviendra sur les lieux du crime avec un Mas Memorias Extranjeras, toujours sur Alluvial.