歌手资料
Land Observations
英文名：
性别：男
国籍：英国
出生地：
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简介：
The beginnings of composing instrumentals about roads, journeys and places\nThe route that Brooks has taken to reach Land Observations’ eight tracks inspired by and named after Roman Roads began in the late-1990s, when he was a founder member of and guitarist in Appliance, who enlivened the instrumental blueprint of post rock with an elegant motorik murmur.\nAfter releasing four acclaimed albums via Mute, Appliance ended in 2003. Since then, Brooks took a Masters degree in fine art at Chelsea College of Art , but music remained a constant. In fact, it was while listening to “solo guitar stuff” such as John Fahey or the artists of the Takoma label, Brooks realised that any future endeavours would see him tread a lone path: “I didn’t want to be in a band any more.”\nAttempts to develop a new project alongside his visual art meant that Brooks did a lot of home recording at his flat in Hackney, East London: “my external hard drive is loaded down with all these things,” he says. Land Observations, then, developed out of what lay just a short walk from his front door – the Roman Roads of communication and conquest that stretch from the old City of London and out across England, Scotland, Wales and Europe. He’d always intended for this to be an instrumental project that “was going to be visual, but implied visual, soundscape being the case in point. The title slotted in quite quickly actually, I realised that this is it, I don’t want to be called my own name, I want it to be an umbrella term that allows me to explore different environments or the natural world in some way in musical form.”\nAfter an EP for Enraptured Records and a performance at Mute’s Short Circuit Festival in May 2011, Brooks “realised that I wanted to take it further and make a long-playing record.\nInfluenced as much by Tom Verlaine, or Takoma guitarists, as Steve Reich and Kosmische groups, Roman Roads sees Brooks exploring the power of minimalism to create warm, evocative atmospherics. The Battle Of Watling Street plucks of guitar appear over a haze, as of a summer’s day, longer drones like leaves revealing their many greens in the warm breeze. Appian Way is a day dream of a Roman Legion marching in time to the beat of Neu!’s Klaus Dinger. Although Brooks spent considerable time researching Roman Roads, this isn’t just an historical project, or an attempt to look only into the past. Instead, there is an obvious fascination with Roman Roads as man made structures, with their bold lines carving through the landscape, creating an album that’s a reflection on the broader ideas of travel, momentum and progress.\nAs Brooks himself says, “it’s more a case of being in the here and now and allowing yourself to be open to the ghosts of the past. I do want it to seem like a contemporary record that tries to ask questions.”\nYou can hear this in Before the Kingsland Road, where a pulse like pylons flitting past the windows of a high speed train sits beneath a simple, doubting guitar motif. These sensations of travel, and the meditative, reflective state that can inspire are key: “That notion of momentum but also the poetry of it, if you have a certain kind of mindset you can’t help but be swept up in the evocative quality of it. I want to try and grapple with that in some way, the melancholic introspection that travel has.”\nAfter Roman Roads, Brooks suggests that there may be other destinations on the way for Land Observations. Until then, though, it’s up to us to continue his journey and take Roman Roads where we will, each listener drawing their own impression of the landscape around as they listen. “I’ve really enjoyed writing these pieces of music that attempt to deal with the road, but of course they can only really be fragments and that’s fine, that’s how it has to be with music,” he says. “I don’t want it to be completist and say this is where it starts and this is where it ends.”
The beginnings of composing instrumentals about roads, journeys and places\nThe route that Brooks has taken to reach Land Observations’ eight tracks inspired by and named after Roman Roads began in the late-1990s, when he was a founder member of and guitarist in Appliance, who enlivened the instrumental blueprint of post rock with an elegant motorik murmur.\nAfter releasing four acclaimed albums via Mute, Appliance ended in 2003. Since then, Brooks took a Masters degree in fine art at Chelsea College of Art , but music remained a constant. In fact, it was while listening to “solo guitar stuff” such as John Fahey or the artists of the Takoma label, Brooks realised that any future endeavours would see him tread a lone path: “I didn’t want to be in a band any more.”\nAttempts to develop a new project alongside his visual art meant that Brooks did a lot of home recording at his flat in Hackney, East London: “my external hard drive is loaded down with all these things,” he says. Land Observations, then, developed out of what lay just a short walk from his front door – the Roman Roads of communication and conquest that stretch from the old City of London and out across England, Scotland, Wales and Europe. He’d always intended for this to be an instrumental project that “was going to be visual, but implied visual, soundscape being the case in point. The title slotted in quite quickly actually, I realised that this is it, I don’t want to be called my own name, I want it to be an umbrella term that allows me to explore different environments or the natural world in some way in musical form.”\nAfter an EP for Enraptured Records and a performance at Mute’s Short Circuit Festival in May 2011, Brooks “realised that I wanted to take it further and make a long-playing record.\nInfluenced as much by Tom Verlaine, or Takoma guitarists, as Steve Reich and Kosmische groups, Roman Roads sees Brooks exploring the power of minimalism to create warm, evocative atmospherics. The Battle Of Watling Street plucks of guitar appear over a haze, as of a summer’s day, longer drones like leaves revealing their many greens in the warm breeze. Appian Way is a day dream of a Roman Legion marching in time to the beat of Neu!’s Klaus Dinger. Although Brooks spent considerable time researching Roman Roads, this isn’t just an historical project, or an attempt to look only into the past. Instead, there is an obvious fascination with Roman Roads as man made structures, with their bold lines carving through the landscape, creating an album that’s a reflection on the broader ideas of travel, momentum and progress.\nAs Brooks himself says, “it’s more a case of being in the here and now and allowing yourself to be open to the ghosts of the past. I do want it to seem like a contemporary record that tries to ask questions.”\nYou can hear this in Before the Kingsland Road, where a pulse like pylons flitting past the windows of a high speed train sits beneath a simple, doubting guitar motif. These sensations of travel, and the meditative, reflective state that can inspire are key: “That notion of momentum but also the poetry of it, if you have a certain kind of mindset you can’t help but be swept up in the evocative quality of it. I want to try and grapple with that in some way, the melancholic introspection that travel has.”\nAfter Roman Roads, Brooks suggests that there may be other destinations on the way for Land Observations. Until then, though, it’s up to us to continue his journey and take Roman Roads where we will, each listener drawing their own impression of the landscape around as they listen. “I’ve really enjoyed writing these pieces of music that attempt to deal with the road, but of course they can only really be fragments and that’s fine, that’s how it has to be with music,” he says. “I don’t want it to be completist and say this is where it starts and this is where it ends.”
