#The Orielles La Vita Olistica

[thejoyofviolentmovement]

New Video: JOVM Mainstays The Orielles Share Glitchy "Tableau 002"

New Video: JOVM Mainstays The Orielles Share Glitchy "Tableau 002" @itshenrycarlyle @theorielles @MJHsupertrooper @adamhalfford62 @Mango_Mgmt @curlytt @heavenlyrecs

When all of Halifax, UK-based JOVM mainstays The Orielles‘ live dates to promote 2019’s Disco Volador were scrapped as a result of the COVID-19 pandemic, the trio — siblings Sidonie B. Hand-Halford (drums) and Esmé Dee Hand-Halford (vocals, bass) and their best friend Henry Carlyle (guitar, vocals) —spent 2020 working on  La Vita Olistica, a high-concept art film written and directed by the…

[senorboombastic]

This One Song… The Orielles on Transmission

This One Song… The Orielles on Transmission

Tell you what – we love hearing from artists when things go right. We equally love hearing from artists when things go dreadfully wrong. A song that was a piece of piss, written in 20 minutes? Or years in the making and a bastard to write? Whether it’s a song that came together through great duress or one that was smashed out in a short amount of time, we’re getting the lowdown from some of our…

[nwdsc]

(▶︎ Tableau | The Oriellesから)

Tableau by The Orielles

The Orielles return with ‘Tableau’, their truly extraordinary third album. Released on October 7th. The Orielles have created their first genuinely contemporary record - an experimental double album self-produced in collaboration with producer Joel Anthony Patchett (King Krule, Tim Burgess). In doing so, the Orielles have utilised holistic jazz practices, oblique 21st century electronica, experimental 1960s tape loop methods, otherworldly AutoTuned vocal sounds, the downer dub of Burial, Sonic Youth’s focus on improvisation and feedback, and Brian Eno’s legendary Oblique Strategy cards. Tableau is a double black vinyl release. The bandcamp vinyl edition will include a fanzine designed by The Orielles and Ben Thompson. Featuring photos by Neelam Khan Vela. • At the end of 2020, the Orielles - vocalist and bassist Esmé Hand-Halford, drummer Sidonie Hand-Halford and guitarist Henry Carlyle-Wade - regrouped to rehearse in Manchester, the city that the band have made their home across the last five years. When all of the band’s live dates to promote their second album were scrapped due to the pandemic, the group instead spent 2020 creating La Vita Olistica, a high-concept art film directed and written by the Hand-Halford sisters which they toured in cinemas across the following year. “When we’ve talked about being influenced by film, people think we mean directors but it’s not that at all” explains Esmé, “it’s about trying to make those ebbs, and flows, and creating tension.” Ideas from scoring that film was beginning to filter into the band’s rehearsals - this would be the beginning of a series of creative breakthroughs that would result in Tableau. One such breakthrough came when the Orielles were booked to host a monthly show on Soho Radio. Broadcasts quickly became impromptu research and development sessions for the ideas that would feed into the album. “Doing that monthly meant we had a reason to meet up, once a month in lockdown for work” says Henry, “and bring two hours of music between us which we’d play, discuss, hold physically and share.” “We’ve all felt a bit dissatisfied with modern music before” explains Esmé, “then we discovered we were looking in the wrong places.” “We switched from playing a lot of old stuff” nods Henry, “and now we’re all buying stuff direct from labels’ websites. We’re tapped into contemporary shit now.” A further breakthrough came whilst remixing another band’s track in a studio in Goyt, on the edge of Stockport. This became the Goyt method, a central idea behind Tableau. “To Goyt it” explains Sidonie, “that’s getting all these pieces and rearranging them. We had vocal melodies and ideas that we’d then run through and sample, and play them on sample pads. We were being editors, really.” Where the band had previously only gone into the studio once songs had been tightly crafted at the demo stage, the Orielles began to consider new practices in line with the modern sound they were aspiring to. No demo’s. Heavy improvisation. And no producer - only the band collaborating with friend and producer Joel Anthony Patchett. “I came up alongside them, engineering on their first two records and each record became more collaborative” explains Patchett, “and we grew closer when they moved to Manchester. It felt super natural working together in a scenario where they wanted a creative level playing fielding. I think that’s a great way to make an album.” That album would be mostly recorded across Summer 2021 holed away in the Sussex coastal town of Eastbourne. Its recording is a story of experimentation, improvisation and a band discovering how to create an entirely new sonic palette. In one instance, to create a state of almost total improvisation, Patchett blindfolded the band and asked them to pick up an instrument that they would not ordinarily use. “We didn’t know who had picked up what” explains Esmé, “Henry went onto the fretless bass, I was on piano and Sid was on the Wurlitzer, which Joel was echoing live but we couldn’t hear that.” That became the exploratory, even mournful track Transmission. In line with contemporary dance music and the sour, other-worldly vocal production of acts like FKA Twigs and Burial, the band began experimenting heavily with treating Esmé’s vocals (just listen to the outro on the remarkable, near 8 minute Beam.) Likewise, Sidonie’s drums transformed from previously having been recorded as an acoustic instrument to simply another sound to be electronically treated, often sped up to something closer to jungle or UK Garage. As well as the adoption of contemporary 21st century production, the Orielles used concepts from the world of art and minimalism in creating Tableau. Sidonie had researched the graphic scoring method of Pulitzer Prize nominated trumpeter and composer Wadada Leo Smith. “It’s like automatic writing but with drawing” Sidonie explains, “he’d show them to players and they’d just play that, just playing the imagery. We did a similar thing for the modular synth that’s on Beam. We drew Joel a graphic score to follow, showing where we thought the ebbs and flows should go.” The band also utliised Oblique Strategies - the playing cards designed to aide creativity created by Brian Eno and artist Peter Schmidt in the early 1970s. “We’d been speaking about wanting to use them for ages, and then we found a set of cards at the studio in Eastbourne” explains Sidonie, “before each song, we’d pick out a card and that would be our motif for playing that take.” On another occasion, when a brush broke suddenly during a drum take, Sidonie began playing the snare with her fingers - something she had seen legendary soul drummer Bernard Purdie do. This speaks to an album that’s fixated on chance, automatic processes and alternate methods of editing. The result is a double album that rewards serious immersion, as complex as it is diverse. Initially, there might appear to be little that links the Sonic Youth dirge of Television with the spectral, beatless Some Day Later. Or tracks like Hornflower Remembered and The Room, which carry the influence of the 21st century dance the band have been devouring, with the challenging extended song suite that makes up the album’s A-side. Further listening, however, reveals recurring motifs and sonic ideas that bind the album’s sixteen tracks together closely. Perhaps the most succinct explanation of the album’s aims is in the standout Darekened Corners. A repeated organ motif circling around a dense Yo La Tengo guitar groove, the track was inspired by Esmé visiting a 2021 Berlin retrospective of American photographer Lee Friedlander. What if, thought Esmé, a photograph was speaking to its maker? “The exhibition had these monuments, and it was photographs and the photographer speaking to each other” explains Esmé, “and that felt quite apt for this album.” As such, all three of the band take vocals on the track for the first time, representing different aspects of the photograph in dialogue. Another first would be the band using strings on the album, inviting the Northern Session Collective - led by celebrated violinist Isobella Baker, who worked with Patchett on scoring the strings. At the end of those sessions, when the collective had recorded all the tracks scheduled for the record, the band asked the players to improvise over a song they had not previously heard - The Improvisation, reflecting the working methods that had produced that track. “We said we’re not going to judge, just listen and react to it” remembers Sidonie. “They said they’d worked with big pop artists” says Esmé, “but that was one of the most spiritual and exciting things they’d ever done.” Though Tableau is likely to challenge preconceptions, this is something the band suggest they have been doing for quite some time anyway. “All through our whole career we’ve had to prove ourselves so, so much” explains Henry. “You can’t disconnect the age and the gender thing either” adds Esmé, “People belittle your age because they see women in the band. Whereas lad bands, if they’re eighteen it’s apparently exactly what people want to see.” Being from a small town in West Yorkshire may have added to that also, but Sidonie counters that “being from Halifax has also been a blessing, it’s kept our egos in check.” Perhaps more than any of this, though, Tableau is also simply the product of the unique telepathy between three singular musicians that have grown in symbiosis for over a decade now - simply the three of them in a room. “As creators, for the fact we’ve produced it ourselves, it feels like a starting point” suggests Esmé, “even though everything that’s going previously has counted, this now feels like Ground Zero.” For the future, now, it’s all gates open. クレジット2022年10月7日リリース

[musikblog]

The Orielles - Tableau Nach ihrem Debüt “Silver Dollar Moment” (2018), dem Nachfolgealbum “Disco Volador” (2020) und dem als Soundtrack konzipierten “La Vita Olistica” (2021) mit erneuerten Arrangements bereits bekannter Songs erscheint nun das nächste Werk der britischen Band The Orielles. Zwischen charmantem Dream-Pop und fluoreszierendem Shoegaze lustwandelt “Tableau” auf neuen Pfaden. Das Trio aus Halifax erweitert sein Spektrum […] #TheOrielles https://www.musikblog.de/2022/10/the-orielles-tableau/

[thejoyofviolentmovement]

New Video: JOVM Mainstays The Orielles Share Expansive and Mind-Bending "BEAM/S"

New Video: JOVM Mainstays The Orielles Share Expansive and Mind-Bending "BEAM/S"@itshenrycarlyle @theorielles @MJHsupertrooper @adamhalfford62 @Mango_Mgmt @sallyhedberg @motormouthpr

Since forming in Halifax, UK over a decade ago, while their members were still in their teens, JOVM mainstays The Orielles — siblings Sidonie B. Hand-Halford (drums), Esmé Dee Hand-Halford (vocals, bass) and their best friend Henry Carlyle (guitar, vocals) — have released three critically applauded albums, 2017’s Silver Dollar Moment, 2020’s Disco Volador and last year’s La Vita Olistica, which…

[piasgermany]

[Album + Video] The Orielles mit neuem Album "Tableau"!

The Orielles veröffentlichen am 7. Oktober 2022 das neue Album "Tableau" (via Heavenly)!

Mit "Tableau" haben The Orielles ein experimentelles Doppelalbum geschaffen, das sie in Zusammenarbeit mit Produzent Joel Anthony Patchett (King Krule, Tim Burgess) selbst produziert haben. Dafür hat sich die Band von einer Vielfalt an Einflüssen inspirieren lassen: u.a. von schrägen Elektro-Sounds des 21. Jahrhunderts, experimentellen Tape-Loop-Methoden der 1960er Jahre, dem düsteren Dub von Burial, Sonic Youths Fokus auf Improvisation, sowie Brian Enos legendären Oblique Strategies-Karten.

Das Album wurde hauptsächlich im Sommer 2021 in der Küstenstadt Eastbourne aufgenommen. Mit einem expansiveren Sound ist das Werk dabei eine große Veränderung gegenüber dem Vorgänger "Disco Volador" von 2019. Die Aufnahmen sind eine Geschichte von Experimenten, Improvisationen und einer Band, die entdeckt, wie man eine ganz neue Klangpalette schaffen kann. Um auch den letzten Tropfen Kreativität abzapfen zu können, verband Produzent Patchett dem Trio während der Aufnahmen auch zum Teil die Augen und bat sie, ein Instrument in die Hand zu nehmen, das sie normalerweise nicht benutzen würden.

Der erste Auszug "Beam/s" ist ein achtminütiges, wunderschönes Stück mit sich ständig veränderndem, himmlischem Dream-Pop. “This is a song that has travelled, grown and adapted with us through all of the seasons”, erzählt Sängerin und Bassistin Esmé Hand-Halford über den Track. “This is why the lyrics kind of reflect that, the song reflects the changing of conditions. The warping of time, memories and relationships that you foster along the way.”

Zuletzt hatte die Band bei ihrem eigenen Experimentalfilm (La Vita Olistica, 2021) Regie geführt und die Musik dazu geschrieben.

Tracklist "Tableau": 01. Airtight 02. Beam/s 03. By Its Light 04. Chromo I 05. Chromo II 06. Darkened Corners 07. Drawn And Defined 08. Improvisation 001 09. Room 10. Some Day Later 11. Stones 12. Television 13. The Instrument 14. The Offer To Erase 15. Transmission 16. Water

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