#joel patchett

[nofatclips]

Note to Self by Badly Drawn Boy from the album Banana Skin Shoes [Also on: Spotify - YouTube]

[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…

[thelonecalzone]

The Unaired Two-Page Conversation

I think we're past the point of possible spoilers, so as promised: the 2pg book conversation that was cut for time (and realism). Originally, I was experimenting with "unsent" books as part of the conversations, but I thought it would ultimately be too confusing and opted not to use that, so anything you see with a strikethrough is an "unsent" book.

(If this text formatting is ultra zany and hard to read, someone please tell me and I'll make it more regular. Allison is Blue, Patty is Red... for reasons... 🫠)

Allison: It’s Lonely at the Center of the Earth, by Zoe Thorogood

Patty: Not Here, by Hieu Minh Nguyen

Allison: Tell Me Everything, by Minka Kelly

Patty: Daily Rituals, by Phoebe Garnsworthy

Patty: Drinking Coffee Elsewhere, ZZ Packer

Patty: Crime, by Irvine Welsh

Allison: Without Me? by Chelle Bliss

Allison: Exciting Times, by Naoise Dolan

Patty: Not Without You, by Harriet Evans

Patty: The Page Turner, by David Leavitt

Allison: I Got a Job and It Wasn’t That Bad, by Scott Dikkers

Patty: Really Moving On, by Pierre Jeanty

Patty: What Kind of Job Can a Monkey Do? by Sato Akira

Allison: Hey Rick! Don’t Be So Rude! by Alyssa Thompson

Patty: I Like Monkeys, by Peter Hansard

Allison: So You Like Me Too, by OPR

Patty: The Miseducation of Cameron Post, by Emily M. Danforth

Allison: Just Say Yes, by Niobia Bryant

Patty: Yes, Chef, by Marcus Samuelsson

Patty: Get to the Point, by Joel Schwartzberg

Allison: I Miss You, by Pat Thomas

Allison: Without You, by Saskia Sarginson

Allison: You’re, by Keisha Ervin

Allison: I Got My Dream Job and So Can You, by Pete Leibman 

Patty: Super Spy, by Matt Kindt

Allison: The Librarian Spy, by Madeline Martin

Patty: For the Love of Books, by Graham Tarrant

Allison: Reminds Me of You, by Retno Handini

Allison: For the Thrill of It, by Simon Baatz

Patty: Run Towards the Danger, by Sarah Polley

Allison: Risking it All, by Tessa Bailey

Patty: Risk (With Me), by Sue Wilder

Patty: Ambitious Girl, by Meena Harris

Allison: Yeah, Right, by Jim and Helen Fox

Patty: The Follow-Through Factor: Getting from Doubt to Done, by Gene C. Hayden

Allison: A Stroke of Dumb Luck, by Shiloh Walker

Patty: Credit Where Credit is Due, by Frank Casey

Allison: Optimists Die First, by Susin Neilsen

Patty: The Price of Immortality, by Peter Ward

Allison: Death Visits the Hair Salon, by Amy Anderson

Patty: Murder in the Library, by Katie Gayle

Allison: Sounds Like Fun, by Bryan Moriarty

Patty: I Have More Fun With You Than Anybody, by Lige Clark

Patty: Certifiably Insane, by Arthur W. Bahr

Allison: Charming as a Verb, by Ben Philippe

Patty: How Do You Manage? by John Nicholson

Allison: Liquor, by Poppy Z. Brite

Patty: Hardly Know Her, by Laura Lippman

Allison: Don’t Be Gross, by Barbara Bakos

Patty: It’s Just Anatomy! by Ellen

Allison: Rough Transition, by Patrick Kelley

Patty: Some Girls Like it Rough, by Marlo Peterson

Allison: What Sort of Girls Were They? by Petrea Leslie

Patty: Girls with Bright Futures, by Tracy Dobmeier

Allison: I’m a Little Ghost and I Like the Dark, by Lynda Kimmel

Patty: Dark As the Grave Wherein My Friend Is Laid, by Malcolm Lowrey

Allison: Murder in the Dark, by Simon R. Green

Patty: My Job Was To Bring The Shovel, by Randall M. Rueff

Allison: The Complete Accomplice, by Steve Aylett

Patty: The Magician’s Assistant, by Ann Patchett

Allison: The Witch’s Familiar, by Raven Grimassi

Patty: Witch Minion, by Lissa Kasey

Allison: These Witches Don’t Burn, by Isabel Sterling

Patty: The Drowning Kind, by Jennifer McMahon

Allison: A Touch Morbid, by Leah Clifford

Patty: Lucy Clark Will Not Apologize, by Margo Rabb

Allison: I Wonder What She’s Doing Tonight, by James Hold

Patty: Whiskey, Words, and a Shovel, by R. H. Sin

Allison: Sounds Perfect, by Ashley Boren

Patty: How I Made a Friend, Daniel Georges

Allison: Good For You (Between the Lines), by Tammara Webber

Patty: We’re Very Good Friends, by P.K. Hallinan

Allison: Sounds Fake, But Okay, by Sarah Costello

Patty: What If It’s True? by Charles Martin

Allison: What If It Wasn’t? by Ivan Itch

Patty: Why Do You Care? by Saju Skaria

Allison: I’m Fine and Neither Are You, by Camille Pagán

Allison: The Replacement Part, by Nora Wylde

Patty: Just a Friend, by Ashley Nicole

Allison: How to Kill Your Best Friend, by Lexie Elliott

Patty: You’re All Just Jealous of My Jetpack, by Tom Gauld

Allison: Dead Jealous, by Sharon Jones

Patty: You’ve Got to Have Friends, by Delbert George Fitzpenfield Anthony

Allison: Everything I Need I Get From You, by Kaitlyn Tiffany

Allison: Among Other Things, by Robert Long Foreman

Allison: Truths I Learned from Sam, ​​by Kristin Butcher

Patty: The Idiot King, by Patty Jansen

Allison: He Helped Me Climb the Mountain, by Betty E. Wright

Patty: The Man Who Pushed His Wife off a Cliff, by Will D. Burn

Patty: Men are Trash, by Salman Faris 

Patty: And That’s Why I Think I Prefer A Rainbow Horse, by Tiarra Nazario

Patty: Sam Houston’s Wife, by William Seale

Allison: What About Her, by Emma Tharpe

Patty: Amelia Bedelia Sleeps Over, by Herman Parish

Patty: The Undead in my Bed, by Katie McAlister

Allison: Sleeping with the Enemy, by Nancy Price

Allison: How Could You Do That?! by Laura Schlessinger

Allison: How Could You Murder Us? by Charae Lewis

Allison: Why Her? by Nicki Koziarz

Allison: I Hate You, Don’t Leave Me, by Jerold J. Kreisman

Patty: I Was Joking, Of Course, by Paul Jennings

Allison: Liar, by Tate James

Patty: What if I Say the Wrong Thing? by Verna A Myers

Allison: Don’t Look Back, by Josh Lanyon

Patty: Come Back, by Sally Crosiar

Patty: SHIT, by Shahnon Ahmad

Patty: Barbie: It Takes Two, by Grace Baranowski

Allison: I Changed My Mind, by Jimmy Evans

Allison: Allison Hewitt Is Trapped, by Madeleine Roux

Patty: Are You Still There, by Sara Lynn Schreeger

Patty: Wait for Me, by Caroline Leech

Allison: Look Back, by Tatsuki Fujimoto

[wholesomeobsessive]

Books of 2021

Frozen in Time by Mitchell Zuckoff

The Perfect King by Ian Mortimer

Elizabeth: The Forgotten Years by John Guy

Bad Blood by John Carreyrou

Henry VIII by John Guy

My Heart Is My Own by John Guy

A History of Britain: Volume 1 by Simon Schama

Commonwealth by Ann Patchett

The End of Gender by Debra Soh

Charles I by Mark Kishlansky

The Van Apfel Girls Are Gone by Felicity McClean

The Lantern Men by Elly Griffiths

The Night Hawks by Elly Griffiths

Molly's Game by Molly Bloom

How Mumbo Jumbo Conquered the World by Francis Wheen

Fly on the Wall by E Lockhart

Trans by Helen Joyce

A History of Britain: Volume 2 by Simon Schama

The Status Game by Will Storr

Quirkology by Richard Wiseman

Frankenstein (play version) by Mary Shelley and Philip Pullman

Quit Like A woman by Holly Whitaker

At Home by Bill Byrson

Disunited Kingdom by Iain Macwhirter

The Coming of Neo Feudalism by Joel Kotkin

[sarah-maclean-completist]

AudioGals August 2023 Picks: Sarah MacLean/Mary Jane Wells Lucy Parker/Anne-Marie Piazza Ann Patchett/Meryl Streep Allie Therin/Joel Leslie

[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

[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

Website Instagram Facebook

[lewisjkellettstudio]

Nikki and the Waves “In a Cloud” Recording. 23/11/20

It’s finally finished! 

We’ve been building this song piece by piece since recording drums and bass for both this and “Anywhere” back in one hectic day in August. We’ve had the Custom Pre locked down every Monday for the past month overdubbing guitars, keys, vocals, trombone and trumpets. This is also the 2nd collaboration with producer/mixer Joel Patchett (Doves, The Orielles, Julia Bardo) who will be mixing the track. 

Things really feel like they’re clicking now, onto the next one! 

Links will be posted upon release.

[sunflwrseeds-scully]

Canopus, Orion, Cassiopeia, Gemini, Pegasus, Cygnus, Asteroid, Supernova

hey girl xx thanks!! 

Canopus - Have you ever broken a bone? I broke my pinky once lol or maybe sprained? I’ll never know, my dad made me a splint out of a popsicle stick hahaha.

Orion - Favorite month? Idk! Probably July/August because I just really love the summertime and feel more positive then. 

Cassiopeia - Favorite book? UGH i have a little list of favorites. I can’t choose, sorry: Secret Life of Bees by Sue Monk Kidd, Extremely Loud & Incredibly Close by Jonathan Safran Foer, My Sister’s Keeper by Jodi Picoult, The Kite Runner by Khaled Hosseini, Bel Canto by Ann Patchett. 

Gemini - Favorite song? NO no. noOOo. (I scream, even though I asked you the same question). Okay I’m going to list songs that have stuck with me through the years and I have continually loved: Brown Eyed Girl - Van Morrison, I’ll Be Seeing You - Billie Holiday, Heroes - David Bowie, Lullaby (Goodnight My Angel) - Billy Joel, Wake Up - Arcade Fire, On the Nature of Daylight - Max Richter. Fuck I’m going to stop now lol. 

Pegasus - Favorite place to be? the beach. but if I’m going to list a specific place: Florida at my grandparent’s condo. So many beautiful memories there. I am always happy. 

Cygnus -  Favorite Weather? I love sunshine and like high 70s/low 80s. If I’m indoors and in a certain mood a thunderstorm is heavenly. 

Asteroid - What does your dream life look like? I learn how to better deal with my anxiety. I am a published writer and I write novels in my house that is by the ocean. I find someone to love and cherish my days with. I travel often. I stay friends with the people I’m closest to through the years. My mom learns to listen, to hear me, and I learn to forgive my parents for a lot of what they’ve done.

Supernova - What’s one thing you want to do before you die? Get my writing published. 

[lewisjkellettstudio]

Airtight Studios, Manchester. 14/9/20

Assisting Joel Patchett with the previously mentioned Nikki & The Waves. Joel reworked the demo we recorded and had his own ideas on how to convey the track, and Airtight proved a fantastic environment to make the record. The live room recently received some acoustic treatment which made getting a good drum sound a breeze. A group of friends dropped by around midday to record some beautiful harmonies, and Joel also brought his vintage Juno 106 which was the star of the show!

Hear the track below:

https://open.spotify.com/track/5eCyGfdeOPRo0xdfdXoijY?si=dAUCttNeQQK0vqiNmfuxBA