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Harold Budd - Wind In Lonely Fences 1970-2011 (2013)

11-01-2014, 12:16
Ambient | New Age

Harold Budd - Wind In Lonely Fences 1970-2011 (2013)

Year Of Release: 2013
Label: All Saints Records
Genre: Electronic, Ambient, Modern Classical, New Age
Quality: 320 Kbps
Total Time: 111:48 min
Total Size: 256 MB
WebSite: Amazon


01. The Oak Of The Golden Dreams
02. Bismillahi ‘Rrahman ‘Rrahim
03. Wind In Lonely Fences
04. Wanderer
05. Dark Star
06. The Pearl
07. Ooze Out And Away, Onehow
08. Ice Floes In Eden
09. Algebra Of Darkness
10. A Child In A Sylvan Field
11. The Messenger
12. Hand 20
13. She’s By The Window
14. Nove Alberi
15. Adult
16. Arabesque 2
17. How Distant Your Heart
18. Mars And The Artist

Wind in Lonely Fences is a 2xCD retrospective compiled by All Saints Records and released alongside three vinyl reissues of older Budd albums (The Serpent (in Quicksilver), Abandoned Cities, and Through the Hill) and a seven-album box set called Buddbox. I'm writing about Wind here not only because it's the most convenient inroad to Budd's career, but because it's an ambitious project in its own right: with as many albums as Budd has to choose from and no responsibility to things like radio hits, the job of the compiler becomes an unusually creative one.

Starting with 1970's "The Oak of the Golden Dreams", Wind moves chronologically, ending with a track from his 2011 album In the Mist. Progression is obvious, especially early on. "Dreams", which was improvised on an old Buchla modular synth, has more in common with the dense ragas of Terry Riley than anything Budd composed in the 80s, and even 1978's "Bismillahi 'Rrahman 'Rrahim"—from one of my favorite Budd albums, The Pavilion of Dreams—shows a willingness to indulge in vast, almost jazzy pieces of music that he'd give up within a few years. (A sap at heart, I wilt at the sound of an erotically played saxophone.)

Budd's music got smaller and more peaceful, but also more opaque, culminating in the work he's best known for: The Plateaux of Mirror and the Pearl (also with Eno and his protégé, Daniel Lanois). Soft, sparkling but always just beyond the edge of discernible pattern, Budd's pieces with Eno are like keyholes to dark rooms that Budd—in his reserve—never lets you into. It's this tension—between gentleness and threat, between intimacy and uncertainty, between the thrill of a hint and the human desire to see the whole picture—that makes them seductive on first listen but so easy to play on subsequent ones. Also worth noting is a track from Budd's 1981 album The Serpent (in Quicksilver), which at 20 minutes long barely constitutes an album, but is my favorite Budd release right now—a series of miniatures less high-minded and delicate than his Eno collaborations, but earthier and more generous too, tapping into a history of jazz, Americana, and even country music that he rarely touched again.

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jojo5   User offline   17 January 2014 01:25


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