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EDWARD KA-SPEL, "THE RED LETTERS"
"The Blue Room" never sat very well with me, though I did love Hotel Y.
"Red Letters," on theother hand, is to my ears a cohesive, well structured and thoroughlyeffective disc. I'm very pleased with Edward's latest work. The wholealbum has a very slow, somber, moody atmosphere to it, yet "Seeing Red"is a bit faster (though still quite dark). It stirs me, my emotions, mythoughts and has already become one of my all-time favorite Ka-Spelsongs. "Belief on a Breeze," "Red Rock," and "Radio 6," are slow peiceswith plenty of chilling textures circulating around behind the simplemelodies, with Edward's emotive voice at the forefront.
A question: Is it just me, or does the progression to "Beleif on aBreeze" sound hauntingly like "Lisa's Seperation" ; and does the pianoprogression in "Red Rock" hint of some song from one of the China Dollreleases...? Of course, it wouldn't be the first time Edward hasre-circulated musical themes.
"The Carrier," "Groovy," "Red Letters," and the latter half of "Beleifon a Breeze" offer the more experimental side of the album -- crunchysounds, clanging percussion, odd vocal samples and other bits of chaos.In a word, *wonderful*. I really like the way on "The Carrier,"Edward's drawled vocals fit perfectly with a very 'non musical'backdrop.
"Swamp Thing" differs quite a bit from the rest; it's musicallybrighter, with peppy keyboard percussion and a catchy chorus of "downboy down boy..." I enjoy the addition of Rachel's voice at the end,too, singing "what you do, you do for love."
Nothing on this disc failed to connect with me. Nice work, Edward!
"Red Letters," on theother hand, is to my ears a cohesive, well structured and thoroughlyeffective disc. I'm very pleased with Edward's latest work. The wholealbum has a very slow, somber, moody atmosphere to it, yet "Seeing Red"is a bit faster (though still quite dark). It stirs me, my emotions, mythoughts and has already become one of my all-time favorite Ka-Spelsongs. "Belief on a Breeze," "Red Rock," and "Radio 6," are slow peiceswith plenty of chilling textures circulating around behind the simplemelodies, with Edward's emotive voice at the forefront.A question: Is it just me, or does the progression to "Beleif on aBreeze" sound hauntingly like "Lisa's Seperation" ; and does the pianoprogression in "Red Rock" hint of some song from one of the China Dollreleases...? Of course, it wouldn't be the first time Edward hasre-circulated musical themes.
"The Carrier," "Groovy," "Red Letters," and the latter half of "Beleifon a Breeze" offer the more experimental side of the album -- crunchysounds, clanging percussion, odd vocal samples and other bits of chaos.In a word, *wonderful*. I really like the way on "The Carrier,"Edward's drawled vocals fit perfectly with a very 'non musical'backdrop.
"Swamp Thing" differs quite a bit from the rest; it's musicallybrighter, with peppy keyboard percussion and a catchy chorus of "downboy down boy..." I enjoy the addition of Rachel's voice at the end,too, singing "what you do, you do for love."
Nothing on this disc failed to connect with me. Nice work, Edward!
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