The Inward Circles

about

Richard Skelton's first solo album in two years is preoccupied with 'the great volume of nature', its delicacy and violence, light and dark, solace and psychological burden. The music hovers between the empyreal and the subterranean, and - framed by the accompanying book of texts, art and photography - offers what Skelton describes as a 'picture of a wood through which slanting light dimly traces other forms'. Nimrod presents the idea of music - not as the distillation of a specific place (as in works such as Landings and Ridgelines), but as a relic of an imaginary landscape; a series of notional artefacts: 'I wanted to concentrate on sound as a material presence - to explore it as a substance that might endure weathering, to reveal layers of harmonic till with outcrops of more obdurate material; moraines of static, veins of melody.' The tremulous strings that characterised much of his earlier work have all but disappeared as the music is divested of ornament, revealing the coarse grain of its underlying substrate: a dark mass of shifting tonal colours suffused with filigree detail. The excerpted texts that make up the accompanying book come from a range of sources, united by a hyper-sensitivity to nature itself; a desire to understand and come to terms with its 'hidden state'. They are figures in the landscape, some of whom construct elaborate systems of classification and natural philosophy, others who seem wounded by their very affinities, and others still who seem lost,

top songs

albums

Scaleby

Before We Lie Down in Darknesse

And Right Lines Limit and Close All Bodies

Nimrod Is Lost In Orion And Osyris In The Doggestarre

Belated Movements for an Unsanctioned Exhumation August 1st 1984

I have heard a music and it is delirious

Shadow Reflex

Letters Were Between Lines

Scaleby, XII

Place Language

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Nimrod Is Lost In Orion & Osyris In The Doggestarre

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And Right Lines Limit And Close All Bodies [Corbel Stone Press]

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