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Fathom

Fathom

  • Door Cuthbertson Ian
  • Release 5-10-2010
  • Muziekgenre Electronic
  • Media-indeling CD
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Prijs: € 20,74

Product notities

Fathom is a solo album in the melodic tradition of great 1970s one-man efforts like McCartney, and Mike Oldfield's Tubular Bells, and perhaps more recently Gotye's Like Drawing Blood. It has, as you might expect, folk, rock and lounge elements. What you might not expect are the danceable electro tracks like No Values (about mixed race/gender/skin colour relationships) and Betrayed, about, well, being betrayed by a lover. There are country songs, piano ballads, songs of the future and songs of the past. There's even a surf instrumental called Warriewood featuring five separate electric guitar harmony parts ('lad's music', Ian says), that Fathom producer John Stuart has dubbed 'Scotland on a surfboard'. TRACK BY TRACK Wolf at the Door As summery a piece of retro lounge as you are likely to hear this or any other year. 'I wanted to say to listeners, right off the bat, this guy is NOT entirely serious,' Ian says. No Values Race relations. The idea of falling really hard for someone who barely understands you. This dance tune fairly bubbles with middle eastern flavours, sounds and rhythms - and one of the album's signature sounds - the hand bell. 'It's kind of a collision between a disco sound, I suppose representing Anglo values, and this spicy hot middle eastern thing. The idea is to celebrate all cultures through the mantra-progression 'You've got no values, who's got no values? Only one value - love above all'. World peace with a dance beat,'' Ian says Two Cars A real country song, an old fashioned waltz time divorce ballad. 'It's about that last moment, when all the fighting is over, and you and the person you've been living with for years and you are standing on the street in the rain, packing the very last of your stuff into separate vehicles. A heartbreaker for the recently separated,'' Ian says. Fathom The sweet sound of rain on a tin roof is joined by a haunting, futuristic piano figure, shaer, clave sticks, and those hand bells before a symphonic interlude. 'It's almost a musical palindrome,'' Ian says. 'After the orchestral part, each of the figures makes it's return in reverse order.' Fathom crystallises the album's themes of water, depth and personal attachment. After all, in English law, a fathom was defined as 'the length of a man's arms around the object of his affections.' District Park A sweet pop song about being 14 in the general haze of wondering if everything is going to turn out alright, yet somehow elevated by an almost spiritual assurance that it will. The park, in Manly, is personified and addressed in the song: 'District Park, how you haunt me through the years, with your head in the mist like a boy's first kiss, you were there at the birth of desire - and though my dreams seemed so far away, you were the breath of something higher, fire.' Sunny song with just a wisp of regret. 'It's really the song of a much older bloke driving past the park, decade after decade, remembering a time of innocence, a time when 'the constant talk of girls unfurled,' Ian says All We Leave Behind A very personal song. Ian's mother died in May, 2008, and the song is a tribute to Betty Cuthbertson, and to the lasting, eternal nature of love. 'It changes you forever to lose someone so close, and I guess I wanted to address that change, and also to leave behind my own message of what my Mum meant to me, and what enduring love is really about,'' Ian says. The song features Ian on piano, cello, electric bass, French horn and voice. Warriewood Scotland on a surfboard. 'I wanted to do a surf instrumental that was pure boys music, you know the stuff that girls are supposed hate, and guys put on their iPod to listen to at the beach. I particularly wanted the splash cymbals to hit you in the face the way the whitewater does when you are paddling out. I loved doing it, and I particularly loved getting the guitars to scream and howl - not discordantly, but in a controlled way, like these great harmonised beasts of the sea,'' Ian says. Warriewood was one of the first songs completed and the forthcoming video is 'sexy and fun'. The song should transport you to the beach from your desk at work, or wherever you happen to be stuck, wishing you were there. Betrayed A third person narrative about a guy who is betrayed by his girl. HUGE drums and a surprise entry of a heavy metal guitar part along with even more clubland drums. A feast of dance rhythms to get even the most sluggish of dudes up on the dance floor. Letters in the Sand When the Fathom sessions were in fully sway, Ian says he couldn't help noticing producer John Stuart's pedal steel guitars standing around at sound Heaven. 'I always wanted to this song with a pedal steel,'' Ian says. 'It wasn't originally planned for Fathom, but it kept playing in my head, so I recorded the backing at home and asked John if he'd play on it. He worked on it one morning before he's heard the vocal melody, and to our great pleasure the part he recorded worked really well with the vocal lines.'' Letters in the Sand is a young man's song - when you're crazy about someone to the point of writing that you love them in the sand, knowing the message will be washed away before they see it. It's about finding the strength to tell someone how you feel about them, and just stop 'writing all these letters in the sand.' Wild and Free The oldest song in the collection, Ian wrote Wild and Free in the early 80s when he was with the Accelerators. 'It was the song that always made them jump up to dance - so I thought it deserved a run on my album,'' says Ian. 'I think it's a really upbeat, bright, and optimistic way to end the record - and I love the brass at the end. It's a great full stop that harks back a bit to the opening track Wolf at the Door .' About Ian Cuthbertson -------------------------------------------------------------------------------- Though probably best known for his work over the last eight years as a technology, television and arts journalist at The Australian, Ian has been singing, playing and writing music since age 15. His debut performance was at Sydney's Pact Folk in Liverpool Street, Sydney, while still at school. This was followed by appearances at the Journeys End wine bar in Sydney's Woolloomooloo in the mid 70's while training as a psychiatric nurse. From 1978, by then a registered nurse ('don't call me sister, mister') Ian played countless solo shows in pubs, including a 13 month residency at the Royal Sovereign (Now the Darlo Bar) in Sydney's Darlinghurst. He auditioned for and became lead singer and principal songwriter for the 80s punk outfit The Accelerators. After the frenetic early 80s, and a general disenchantment with the more horrifying artefacts of punk culture, such as finding spikes of porcelain where toilets used to be in venues, Ian moved to the Blue Mountains, furthering his career as a psychiatric nurse while developing some soothing, anti-punk ambient music. A return to the city in 1983 led to weekend shows in pubs in Manly and Rozelle. Some of the ambient music made in the mountains was used on relaxation tapes by alternative healers such as Peter De Reuter, and one piece - Ocean Song - was used for some time as the late night sign off music by Sydney radio station 2SER. A turn as Simon Zealots in Jesus Christ Superstar was followed by appearances in cabaret, more folk clubs and a year or two with the Sydney Gay & Lesbian Choir. From then on it was cabaret all the way, with appearances in New Theatre productions such as Anything Goes. But Sondheim, Cole Porter and Gesualdo were not really where his heart was, so armed with the latest music recording technology and a purpose built room full of much loved instruments, Ian began work in his studio at home on the material that would become Fathom.

Details

Kunstenaar: Cuthbertson Ian
Titel: Fathom
Genre: Electronic
Releasedatum: 5-10-2010
Label: CD Baby
Media-indeling: CD
UPC: 884502761412
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