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Bird Rib

by Leah Kardos

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Al Swainger
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Al Swainger I love the variety and narrative journey of this album. No two tracks are the same but they all lead quite naturally from one to another for the duration. I've gone for Brundle Beats slightly Massive Attack meets Morricone vibe as a 'favourite track' but it was a tough choice next to the chillout of Open Again Eventually or the insanity of Heavy Hand that brings something like Squarepusher to mind and that's pretty compelling too... Just listen and make up your own mind! ;-) Favorite track: Open Again Eventually.
World of Echo
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World of Echo If the world was a just world, this would be in Resident Advisor's best albums of 2020 at the year's end. But we don't live in a just world, so I won't hold my breath.
R. Andrew Lee
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R. Andrew Lee Having listened to each of Leah’s albums many times, I believe this may be the strongest of the bunch. Absolutely enchanting and wonderful.
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1.
Deedee 05:22
2.
Into Sporks 03:25
3.
Heavy Hand 05:14
4.
Bird Rib 05:27
5.
Brundle Beat 02:44
6.

about

After working on Rococochet (2017) I had a lot of fragments and sketches which for one reason or another I decided not to include; tape transfer experiments, small snippets of performances, room tones & offcuts, etc…, I always thought I would eventually get around to assembling something from these parts. While working with tape I really got into reversing my recordings, and a lot of compositions started out that way - listening to what I had on my tapes backwards and seeing what ideas would spark from that.

Three of the pieces on Bird Rib are cobbled together from those remaining sketches from Rococochet. The other 3 were written into and on top of older pieces that have been reversed: Open Again Eventually uses ‘The Closeness of Distance’ (Machines, 2013), Brundle Beat uses sections of ‘Highly Active Girls’ (also Machines), and Bird Rib was written to ‘DFACE [Practice This Video]’ (Feather Hammer, 2011).

I feel like I’ve uncovered rather than composed these pieces, opting to work intuitively in creating music that the raw materials seemed to suggest for themselves. There are nods in here to 90s-era IDM and trip hop with which I have a strong connection. For this project I worked with some of my go to instruments Mellotron, pianos, keyboards, synths, bells, mallets, but also champagne flutes and cutlery, garden tools, flutes and stylophones.

credits

released March 19, 2020

Written, performed, engineered, produced and mixed by Leah Kardos
Recorded at Visconti Studio
Mastered by Ben Wiffen

Additional performers on Heavy Hand: Ben Dawson (piano), Paul Glover (drums) and Lara James (saxophones).

Artwork by Maurizio Bongiovanni.

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about

Leah Kardos London, UK

Leah Kardos is a London-based composer, producer and pianist. Her music combines live instrumental performance with technology and found sounds.

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