Tuesday, 20 December 2016

Monday, 12 December 2016

The Affect

Please enjoy this lyric video for the "The High" taken from forthcoming release by the Affect (yours truly, Matthew Richards and James Hope)
Stream of consciousness meets atmospheric beat laden urban soundscapes:

Monday, 5 December 2016

Porcupine Tree T- Shirt Pre-Order







A new collection of Porcupine Tree t-shirts are available to pre-order for release on 9th December. The t-shirt designs available as part of this first collection are John Foxx's artwork for Lightbulb Sun and Lasse Hoile's artwork for In Absentia and Fear of a Blank Planet.

UK/Europe pre-order - https://www.burningshed.com/store/porcupinetree/collection/322/

USA/Canada pre-order - http://www.porcupinetreestore.com/



Saturday, 5 November 2016

Twinscapes Live in Italy

See below, I am very much looking forward playing with Roberto Gualdi and Lorenzo Feliciati again for three upcoming dates with Twinscapes this month:


Violinist Andrea Bassato will be joining us for the date on the 25th.

Tuesday, 13 September 2016

Ex-Wise Heads - "Everything is Hear"

The very first Ex-Wise Heads recordings are now available in download format from here.

Dating from early 1998, and, saving a single overdub, recorded completely live to a four track cassette machine. Subsequently the material was digitally mixed and mastered by Geoff Leigh, with the assistance of Paul Mex.
"Everything is Hear" was recorded sometime after Geoff Leigh and I first started improvising and composing together as a duo and features Julian Franks on an array of Middle Eastern and Indian percussion (tablas, djembe and darabuka.) who had joined us for our first few live gigs.
Although this line up performed live a few times, these are the only recordings featuring Julian, as he moved on soon after and was replaced by Vincent Salzfaas, who had a much more African oriented percussion approach. We went on to record two albums, ("No Grey Matter" and "Time and Emotion Study") with Vincent, before exploring more electronic elements and settling into a "duo with guests" format.
Some of the material here was reworked for the subsequent debut album "No Grey Matter" but it's certainly different enough from those later recordings.

"Everything is Hear" is certainly raw, eccentric perhaps and maybe even a bit primitive, and it was never meant as an album proper, but it has an energy, directness and character of it's own and listening from a distance of 18 years, I think it has aged well….



Follow this link to get the Burning Shed Edition of "Everything is Hear" on CDR

Wednesday, 7 September 2016

Obake - "Draugr" Preview track, Tracklisting and Cover Image


Cover image by Petulia Mattioli
  1. Cold Facts
  2. Incineration Of Sorrows
  3. Hellfaced
  4. The Augur
  5. Appeasing The Apparition
  6. Serving The Alibi
  7. Cloud Of Liars
  8. Immutable
  9. Draugr
  10. Draugr (Leon Switch Remix)

"Draugr" is due a late October release on Rarenoise, first preview to be released is the track "Appeasing the Apparition" which you can hear below:




..more news to follow…..

Tuesday, 6 September 2016

Friday, 12 August 2016

Emergent - Trailer



See above, a short trailer for the upcoming Burnt Belief album "Emergent" which is set for release on October 7th via Cargo Distribution, and it will also be available through all the usual digital outlets and Burning Shed too, for pre-order please click here.

Friday, 5 August 2016

Ah, Ah, Ah, Ah, Ah...

..or is it Eh,eh,eh,eh,eh…?

Thursday, 4 August 2016

Obake album due October.


I'm just listening to finished, mastered mixes of the forthcoming new album from Obake…expect fury, noise, beauty and controlled chaos…..it's a further development of our last outing "Mutations, more defined perhaps, but keeping the intensity.

The album is scheduled for an October 2016 release on Rarenoise, more news when I have it...



Thursday, 28 July 2016

Burnt Belief - "Emergent" - cover image and track listing.




"Emergent" the upcoming third album from Jon Durant and myself under the name "Burnt Belief" is now completely finished and set for an early October 2016 release. 
Vinny Sabatino, who joined us on "Etymology" and for a previous live date, is on drums.
The last two albums "Etymology" and "Burnt Belief", having been on import only at the time of release, will also be distributed via Cargo at the same time.


Tracklisting:

1.The Bubble Bursts
2. More Snow
3. The Confidence of Ignorance
4. Emergent
5. Until The Stars Go Out
6. Language of Movement
7. Turning Torso
8. Ghosts Aquatic

Audio previews, press release and other information to follow.




Thursday, 21 July 2016

Gaudi - 30 HZ Dub Prelude

I am in great company on several new and forthcoming tracks by Gaudi, who's full length album "Magnetic" is due later this year on Rarenoise. I have been regularly updated on the progress of the album, and it's developed into something really special, as Gaudi has spun entirely new tracks from disparate material taken from across the Rarenoise catalogue adding his own analogue keyboards and a well placed selection of stunning effects as well.

Below you can hear the track 30Hz Dub Prelude, (which features also my Metallic Taste of Blood bandmates Ted Parsons and Eraldo Bernocchi) taken from Gaudi's new White Vinyl 10" EP which is out now, click the text for details.




For more information please go to:

http://www.rarenoiserecords.com/gaudi

Thursday, 14 July 2016

Friday, 1 July 2016

O.R.k. Live photos

Thanks to Miguel Fuentes for these live shots from the O.R.k. show in Santiago, Chile:

 Pat Mastelotto

 Lef
 Carmelo Pipitone











Thursday, 9 June 2016

Hard World - Sale this Weekend




"Hard World" was started by myself and fellow Ex-Wise Head, Geoff Leigh, in order to re-release the first Ex-Wise Heads album "No Grey Matter" in 2002, it's been an on and off thing since then, but as time and budgets allow, we have put out most of the Ex-Wise Heads material, two albums by Mirage (Geoff Leigh and Cathy Williams), my two solo albums, guitarist Rajan Spolia's "More than Words", the Endless Tapes material and most recently the O.R.k. album "Inflamed Rides".

The story isn't over yet, and I am glad to say there are a few more things in the pipeline too…..

In the meantime, this weekend sees a "flash sale" with discounts across all the following Hard World releases at burning shed, please click on the titles below for more information:

Sunday, 22 May 2016

Divorce Holes (ft David Kollar)

Saturday, 14 May 2016

Interesting Failures….

For every photo I am happy with, on any given developed reel, there's usually a whole load of failures, mistakes, experiments that come to nothing and weird results, as unpredictability and the unexpected is built into the use of Lomo cameras. 
There's probably a philosophical parallel with many other areas of life, so please enjoy this small selection of the many duds, whilst perhaps speculating on the randomness of it all…..
In truth, some of these I quite like.


Double exposure, baby and plant.

Totally out of focus blur of something, nice colours though.

Spherical Something

Ectoplasm?

Child's eyes with progressive light leak.

Split Psychotic Selfie Face

A Glowing Foetus?

Not everyone wants to be photographed.

Studio Light Leak

Path of U.F.O.

Multiple U.F.O's somewhere European.

Octo Light Leak

Surreal Staircase.

For some of the more successful results please see my flickr page here:


Monday, 9 May 2016

O.R.k. Live shots from 'Inflamed Rides' Tour…and upcoming live dates in South America.

Below a selection of live shots from this years "Inflamed Rides" Euro dates, thanks to all the photographers concerned:


Carmello Piptone

Bass Drum Art.
Carmello Pipitone



Bastia Umbra

Pat Mastelotto


Lef in full flow.



Slap Bass…?


I had a great time developing and exploring the material live over the course of the tour, and we had a very positive response across the tour, so I am happy to say that we'll be taking the band live for the first time outside Europe next month with a few dates in South America…the ride continues….

Please click the links below for tickets and more information:

- 15/6 - Mexico City - Lunario - Tickets

- 19/6 - Buenos Aires - Niceto Club - Tickets

- 20/6 - Santiago de Chile - Teatro Nescafe de las Artes - Tickets

Lastly for a small flavour of the concerts, here's a live version of "Funfair" from Germany earlier this year:


Best,

Colin

Monday, 18 April 2016

Everything Dissolves





Over the next few months, I'll be periodically uploading old tracks, solo experiments and alternate versions of material already released here:

http://music.colinedwin.co.uk

Tuesday, 12 April 2016

Plural

A revisitation of "Plural"...

Saturday, 26 March 2016

Metallic Taste of Blood live in Austria

I'll be joining Ted Parsons and Eraldo Bernocchi next week for a live "power trio" version of Metallic Taste of Blood at Q-West in Kufstein, Austria, click here for FB event page.

We'll be playing material from both Metallic Taste of Blood albums, but where necessary re-worked and reinterpreted as a trio…..expect the unexpected.





Monday, 14 March 2016

Friday, 4 March 2016

Endless Tapes - 'Bass Collapse' - Live


Below, a version of "Bass Collapse" from Endless Tapes album "Brilliant Waves".

Recorded Live in Italy in February 2014, with myself and Alessandro Pedretti, joined by Corrado Saija on keyboards and Nicola Panteghini on guitar.


Friday, 26 February 2016

iamthemorning

I am guesting on the forthcoming album "Lighthouse" from St. Petersberg based duo iamthemorning.

Below a track from the album, due for release early April, on K-Scope:



Best,

Colin

Tuesday, 16 February 2016

Astarta/Edwin Album Audio Trailer + Interview.



Here is a recent interview talking with journalist Anna Brovchenko from Kiev, (.. see below also for text in Ukrainian…)

Finally the full Astarta/Edwin album is out now on digital release and can be found here:

https://itunes.apple.com/us/album/astarta-edwin/id1081026284.

For the physical CD click here: https://www.burningshed.com/store/hardworld/product/195/7403/

An interview with Colin Edwin
(українською, будь ласка, читайте це інтерв’ю в наступному пості)
– Colin, what did you know about Ukrainian music before you came to Kiev in 2012?
– Although I consider myself an adventurous listener, I had only heard a little Eastern European folk music on various compilation albums and a few random things I had heard or been given, but really I hadn't yet had any particular incentive to delve deeper.
– Were you surprised when Dilya suggested to try working together? Did you search for a collaboration with folk band at that time?
– Dilya approached me just after I had played a live show with Ex-Wise Heads, he doesn't speak much English so he was actually asking me through someone else. I am always open to things, so I was curious to hear what he might have in mind, but I really wasn't searching for anything. I gave him my email address, and to be honest I didn't really expect it would be something that would interest me, it was more out of curiosity really.
– What impressed you when you heard songs of Astarta for the first time? In one of your interview you said you were amazed. What amazed you the most?
– Dilya sent me audio files for the vocal arrangements of Kalina and Vesnyanochka, but with no other information, so the first thing I heard was just the raw vocals. It's a moment I recall clearly, as although of course I couldn't connect with the lyrics, the sound grabbed me instantly, extremely vibrant and stirring but also very atmospheric, and a little alien to me too, as the harmonies are of a type you don't readily hear in the UK. I was reminded a little of the Bulgarian Choir "Le Mystere Des Voix Bulgares", I had one of the cassette tapes way back, but hadn't listened to it in years. In any case there was a clear "quality" to what I was hearing, I could tell immediately these two women could really sing, and what a great combination, they seemed to complement each other perfectly. I was just as impressed with Inna and Yulia when we first started to rehearse, hearing them sing in the real world was even better than listening to the recordings I had been working with.
– Speaking of Astarta/Edwin songs. Could you say anything about Ukrainian people just listening to the music, melodies, voices?
– In places to me, it is evocative of open spaces and it has a naturalness that reflects it's rural origins. The vocals of Inna and Yulia are very soulful, and there is a real range of expression across the material we've worked on. There's a raw, and earthy ethnic quality to the vocals. Pat Mastelotto also described their sound as "uplifting", which I agree with totally. I have always had a bit of a fascination with folk music, on one level music can be just entertainment, but there is something about the way music was and still is used in folk ceremonies, annual festivities or to mark important life events, like weddings, that reminds me of the way that music is really a powerful binding force and becomes part of the fabric of a culture. Inna Kovtun took the time to explain to me how "Vesnyanochka" for example was meant to summon the Spring, hence it was sung in a high pitch so as to be heard clearly. The importance of better weather after a long, hard winter to an agricultural community can't be stressed enough, it might mean the difference between survival and starvation. This explanation gave the song a whole new level of meaning.
– How can you describe Ukrainian folk music in three words?
– Only three? Ok then: Bold, vivid and atmospheric. 
– What Astarta/Edwin project means to you?
– It has been very special to me to create something with people with from vastly different backgrounds and with whom I can barely communicate in words, but the results far exceeded my expectations. It was also a big step into the unknown, we proceeded with no clear plan or intent, but we have made something special and unique I think.
– Some projects invite famous musicians to collaborate with and due to them attracting attention to themselves. But in case of Astarta/Edwin it seems that here seen a mutual interest. Is that right?
– All the musicians were happy to get involved on the basis that they really liked the music and voices, I am really grateful for their contributions, as they each brought something great to the mix. Jon Durant was really enthusiastic as soon as he heard "Kalina", at the time I had no thought of getting anyone else involved, but he contributed some truly marvellous guitar work, from his low key atmospherics in "Troica", to full on abstract solos, like he does in 'Orel'. Of course I work with Jon as Burnt Belief, but he still managed to surprise me in really good way with all the ideas he threw at me.
– It’s said that you used at a studio in Kyiv the EBS TD650 amp which was the same one which you had previously taken as a spare on the Incident tour with Porcupine Tree. Is that true?
– It was actually quite funny, EBS isn't always an easy brand to get hold of in some places, so the studio owner was quite pleased he had found me my first choice. When he told me who the previous owner was, I knew it could only be the same one I had borrowed and had returned to a little rehearsal studio in London at the end of the Incident Tour. Not only did he find my first choice, but the exact amplifier I had used previously...
– Which of your numerous projects is the most priority for you? Or are they all equal?
– On a creative level, everything I get involved in has equal importance to me, especially as one thing always leads to another and lots of things can be great learning experiences. It's sometimes necessary to prioritise things only because certain opportunities might present themselves and I also have to make living.
– How do you make a decision to collaborate with other musicians? What is a main motivation?
– I usually get involved with something or someone if there's either a possibility of doing something that's different and new for me, as I like to surprise myself, or because I already know that the other parties are doing or have done some thing I really like. 
– Could you name certain musicians who have inspired and influenced you?
– Geoff Leigh has actually been a major influence. As a musical partner with Ex-Wise Heads, over the years he has really encouraged me to try new things all the time, so the concept of having a comfort zone is something I no longer care about. Geoff is a seriously creative person, and certainly a hugely under-rated soloist. As for influences, I prefer to think in terms of interaction with whom ever I work with, rather than referencing my own influences.
– It’s written in Wikipedia that you are “a jazz fan”. Who are your favourite jazz musicians?
– Jazz is a broad term really but I enjoy a lot of the 50's -70's stuff: Roland Kirk, Charles Mingus, Miles Davis, Ahmad Jamal, Oscar Peterson, Grant Green, Wes Montgomery and my taste for the more modern type leans towards the Nordic/Scandinavian countries, Esbjorn Svensson, Nils Petter Molvaer, Tord Gustavsen, and also the Swiss minimalists; Nik Bartsch, the band Sonar and I have just discovered Don Li.
– In what music genre you would never agreed to work in and why?
– Fortunately, I get asked to do things that appeal to me, so I have yet to have that problem.
– Колін, чи ви щось знали про українську музику до того, як приїхали до Києва з концертом у 2012 році?
– Взагалі-то, я дуже люблю відкривати для себе будь-яку нову музику, але про фолк зі Східної Європи я знав небагато. Щось чув на збірках, якісь платівки мені дарували, але насправді в мене не було приводу заглибитися у цей музичний матеріал.
– Ви здивувалися, коли Діля запропонував співпрацю? Ви не шукали тоді фолк-проект, з яким можна було б щось разом створити?
– Діля підійшов до мене після мого київського виступу з Ex-Wise Heads. Він не дуже добре говорив англійською, тому його слова мені перекладали. Насправді, я завжди відкритий для співпраці чи пропозицій, тому я з цікавістю поставився до його слів. Хоча тоді я нічого подібного і не шукав. Я дав йому свій імейл. Але, чесно кажучи, не очікував на щось, що мене зацікавить по-справжньому. 
– В одному інтерв’ю ви сказали, що були вражені, коли вперше почули пісні “Астарти”. А що саме вас вразило?
– Діля надіслав мені для аранжування аудіофайли “Калини” і “Весняночки”. Це були лише вокальні партії. Я дуже чітко пам’ятаю цю мить – незважаючи на те, що я не розумів, про що у тих піснях йдеться, звучання голосів захопило мене миттєво. Голоси були настільки тремтливими і хвилюючими... Але у той же час дуже легкими. Звичайно, було одразу зрозуміло, що співають представниці зовсім іншої культури, тому що такі гармонії у Великій Британії не почуєш щодня. Вони злегка нагадали мені болгарський народний хор Le Mystere Des Voix Bulgares – в мене давно була їхня касета, яку я не слухав багато років. Так чи інакше, все звучало настільки якісно, що я одразу зрозумів, що ці дівчини не тільки можуть професійно співати, але й доповнюють одна одну просто ідеально. Ще більше я був вражений, коли ми зустрілися з Інною Ковтун та Юлією Маляренко на першій репетиції у Києві. Наживо вони звучали ще краще, аніж на записах, з якими я працював.
– Що ви можете розказати про українців, лише слухаючи українську народну музику, голоси, мелодії?
– Українська народна музика в мене асоціюється з відкритим простором, природою, здебільшого сільським колоритом. Голоси Інни та Юлії сповнені емоцій. І діапазон цих емоцій надзвичайно широкий. Але водночас вони можуть звучати і дуже просто. Пет Мастелотто вважає, що їхні голоси викликають душевне піднесення і надають сили. І я з цим цілком згоден. Фолк завжди мене заворожував. Одна музика існує для розваги, але є й інша. Ця музика була і є частиною щорічних народних свят чи важливих життєвих подій, наприклад, весілля… І це мені нагадує, що вона насправді є тією силою, що єднає. Музика є невід’ємною частиною культури. Одного разу Інна витратила час, аби пояснити мені це на прикладі пісні “Весняночка”. Вона розповіла, що її співали, коли потрібно було “викликати Весну”, саме тому і співається вона на високих нотах. Вирогідно, щоб було краще чутно. Необхідно було призвати тепло, яке приходить на зміну довгій і важкій зимі. І найбільше цього потребують селяни, бо від цього залежить чи буде людям що їсти. Завдяки цьому поясненню пісня набула для мене зовсім іншого значення.
– Як би ви охарактеризували українську народну музику у трьох словах?
– Тільки три? Добре. Сильна, яскрава, атмосферна.
– Що для вас означає проект Astarta/Edwin?
– Вважаю його особливим для себе, тому що мені довелося створити щось з людьми, за плечима яких дуже різний досвід, і з якими я ледь міг спілкуватися однією мовою, але результат перевершив усі мої сподівання. В нас не було чіткого плану або мети, це був стрибок у невідоме. Але, сподіваюсь, ми зробили щось надзвичайне і унікальне.
– Деякі проекти запрошують до співпраці відомих музикантів, аби привернути увагу до себе. Але у Astarta/Edwin ситуація інша – відчувається спільна зацікавленість. Це так?
– Всі запрошені музиканти долучилися до проекту тому, що їм насправді дуже сподобалася музика і голоси. І я дуже вдячний їм за це, бо кожен додав музиці щось неймовірне. Джон Дюран виявив неабияку цікавість до матеріалу, як тільки вперше почув трек “Калина”. Тоді я ще взагалі не думав, що треба запросити когось з музикантів… Але він заграв фантастичні гітарні партії – ледь чутну на атмосферній “Тройці” та дещо абстрактне на треці “Орел”. Звичайно, я співпрацюю з Джоном у нашому проекті Burnt Belief, але він постійно дивує мене своїми ідеями.
– Чи правда, що під час репетиції на одній з київських студій ви використовували той самий підсилювач (EBS TD650), який був у вас під час Incident Tour з гуртом Porcupine Tree?
– Так! Це доволі весела історія. Справа в тому, що такий підсилювач не так вже й легко знайти. Тож, коли хазяїн студії знайшов мені підсилювач саме цієї фірми, він був страшенно задоволений. Але потім він мені розповів, хто був його попереднім власником… І я зрозумів, що це могла бути тільки одна людина з невеличкої студії у Лондоні – та, у якої я свого часу його і позичив, а потім повернув після завершення туру. Отже, у Києві я використовував саме його…
– Серед ваших проектів є ті, що для вас важливіші за інші?
– Всі однаково важливі. Найкраще ж, коли один проект згодом приводить до іншого. Завдяки цьому я вчусь новому. Часом доводиться встановлювати пріорітети. Але тільки тому, що для презентації якогось проекту з’являється більш слушна нагода. І, окрім того, маю все ж таки лишати час просто на життя. 
– Як ви приймаєте рішення про співправцю з іншими музикантами?
– Я завжди погоджуюся, якщо відчуваю, що робитиму те, чого не робив раніше, щось абсолютно нове. Я люблю себе дивувати. Або погоджуюсь тоді, коли мені подобається музикант і все, що він створює. 
– Назвіть, будь ласка, імена музикантів, які надіхнули і вплинули на вас?
– Джефф Лі, безумовно, сильно вплинув на мене. Коли ми працювали над проектом Ex-Wise Heads, він постійно заохочував мене пробувати нове. Тому для мене таке поняття як “зона комфорту” вже взагалі не існує. Джефф – надзвичайно творча людина і дуже недооцінений виконавець. Взагалі, я надихаюся тими, з ким я вже співпрацював.
– У “Вікіпедії” написано, що ви є прихильником джазу. Хто ваші улюблені джазові музиканти?
– Джаз – широке поняття, але я насолоджуюсь музикою 50-70-х років. Роланд Кірк, Чарльз Мінгус, Майлз Девіс, Ахмад Джамал, Оскар Пітерсон, Грант Грін, Уес Монтгомері. А серед сучасних назву музикантів зі скандинавських країн: Есбйорн Свенссон, Нільс Петтер Молвер, Торд Густавсен, а також представників шведської школи мінімалізму – Нік Бартч, гурт Sonar і моє нещодавнє відкриття – композитор Дон Лі. 
– У якому музичному жанрі ви не погодилися б працювати і чому?
– Нащастя, мені пропонують тільки те, що мені подобається, тому допоки не було нагоди стикнутися з цією проблемою.

Thursday, 11 February 2016

Astarta/Edwin - Tracklisting and Cover Image




Press-Release: 
Astarta/Edwin – “Astarta/Edwin”
(англійською; українською – у наступному пості)


Astarta/Edwin is the unlikely, intriguing and productive combination of female Ukrainian vocal duo Astarta, UK bass player and producer Colin Edwin and Ukrainian composer and singer Dilya. Also the project’s debut album features contribution from gifted and remarkable guest musicians including US experimental/ambient guitarist Jon Durant, UK violin virtuoso Steve Bingham and legendary US drummer Pat Mastelotto (King Crimson).
This collaborative project and album were born out whilst Colin Edwin was visiting Kiev to perform with his duo Ex-Wise Heads in early 2012. After the event Edwin got introduced to Dilya, who came to this concert by chance. Dilya told him he has produced the folk duo Astarta and wanted to collaborate with him. That day the project Astarta/Edwin was started. 
The main idea was to take the vibrant, emotive and striking vocals of Inna Kovtun and Yulia Malyarenko, the Ukrainian folk songs, which they were found during the folk expeditions throughout Ukraine and infuse them into completely unrelated contexts with Colin Edwin's musical input and production. Edwin didn’t treat them as Ukrainian folk and came at the material from a different direction, blending with Western melodic and rhythmic constructs. 
After live performances in 2013, including the debut Astarta/Edwin show at the Kraina Mriy World Music Festival in Kyiv, solo concert of Astarta with Colin Edwin and Astarta/Edwin live at the Days of Ukraine in the UK in London, the project developed their sound and working methods throughout the recording process. 
Colin explains “Whilst working on the material, I purposely stayed away from attempting any sort of interpretation of the lyrics, instead remaining in wilful ignorance of the actual lyrical content. The Ukrainian language remains a mystery to me, so my focus was always on supporting the twin vocals and trying to create a sympathetic musical content to wrap around and highlight them. It's really not necessary to understand the words to grasp the emotional intention.”
Kicking off with the jaunty, propulsive “Pid Yalinoyu” the album travels through an inviting collection of 12 songs, via the mysterious atmospheric dub of “Oy U Lisi”, ranging from the uplifting “Orel” (aided by particularly inventive guitar work from Durant), to the fragile acoustic ballad “Kolisanka”. The creation of the album allowing the unexpected new interpretations, for example the reworking of traditional song “Skripka” lends a more melancholic undertone to it’s usual cheery mood. 
Together, all parties involved have moulded the folk roots into something unique, in a new and highly unusual way, especially for Ukraine. 
Colin concludes "I hope we are able to present something positive, energizing and beautiful. This album would not exist without the generosity, warmth, energy, creativity and humour from all the Ukrainian people I have met, and the rich culture we have drawn from and shaped together in our own way.”
Tracklisting:
1 Pid Yalinoyu
2 Kalina
3 Oy U Lisi
4 Orel
5 Rekrutska
6 Skripka-Bass
7 A V Nashogo Shuma
8 Vesnyanochka
9 Kupala
10 Troica
11 Kolisanka
12 Cascade

Credits:


Inna Kovtun – vocals 
Yulia Malyarenko – vocals


Colin Edwin – fretted, fretless and upright basses, programming, keyboards, electronics, ebow, arrangement
Recorded at Nightspace (London, UK)
Dilya – keyboards, vocals
Recorded at EP Studio (Kiev, Ukraine)


With:
Jon Durant – electric, acoustic and cloud guitars
Recorded at Mannakin Studios (MA, USA)
Steve Bingham – violin (6, 8, 9, 12)
Recorded at Rectory Studio (Brington, UK)
Pat Mastelotto – acoustic and electronic drums, percussion (2, 3, 6)
Recorded by P@ at The Worm Hole - Dripping Springs (Texas, USA)
Bogdan Kerichok – acoustic drums (4, 5)


Produced by Colin Edwin, Dilya
Co-produced by Igor Romanov
Consulting producer – Anna Brovchenko
Mixed by Colin Edwin at Nightspace (London, UK)
Mastered by Paul Mex at Mex One Recordings (London, UK)


Monday, 8 February 2016

O.R.k. "Inflamed Rides" Tour….the start...



At the time of writing this, I have just completed the first gigs on the current O.R.k. tour, and it's my first chance to reflect after a short, intensive rehearsal period followed by several consecutive dates and travel days.

It's truly amazing to be with my bandmates playing the "Inflamed Rides" material live, to receptive audiences, little more than a year after we first started our tentative steps in recording the music.
I am also pleased to say the there's plenty of room in the music to expand and explore the recorded tracks live. As expected, the chemistry is working…..

Links below to a selection of photo galleries and reviews (in Italian)

Linea Diretta
Magmusic

A selection of photos from our first shows:



Lef.

Pat Mastelotto

Carmelo Piptone



Lef.




…The ride continues…upcoming dates are here:



Solo Work

Ex Wise Heads Downloads