“A set of spry, pastoral Aecoustic Guitar and errant Electronic pieces
that harken back to libraries by Teisco, Vittorio Marino, and the
like, yet mapped in an alien manner unlike any known lanes. Unusual,
and uniformly excellent.” - Keith Fullerton Whitman
Solo flight from Chris Bush of Caboladies/Flower Man & Equipment Pointed Ankh. 13 tracks of tunefully coruscating modular synth and familial acoustic guitar. Some of the simmering/unknowable crowd murmur made famous by the Caboladies is present here, though the bulk of Breslin’s meat has the dial set to Song. “Clocks In Mirrors” recalls The United States of America at their most chiming and bucolic (think Cloud Song) while “View of the Interior From The Road” moves in and out of focus gently introducing an element of unease for the walk home. The digital sprinklers of “Untitled” and “Cooling White Projecting” could be on the other side of the street from Richard Youngs’ Garden of Stones. “A Sketch of the Lobby and Staircase” sees Emitt Rhodes up all night on the world’s first wooden computer typing over and over “You don’t always need to sing…”. Rough hewn and handmade, the DIY song-spirit of Gareth Williams and Mary Currie’s Flaming Tunes and the pastoral bubbling of Broadcast in full on british library music mode.
“Looking out into the vanishing and the hills give way to spark,
Breslin cooling white projecting on occasion.”
released November 9, 2018
Written, performed, and recorded by: Christopher David Bush
(Caboladies, Equipment Pointed Ankh).
Instrumentation: Acoustic Guitar, Echo, String Synthesizer, Modular
Synthesizer, Rhythm Machine, Electric Piano and Field Recordings.
Birdsong and train recorded in Louisville, Kentucky.
Without whom: Ben Zoeller, Robert Beatty, Eric Lanham, Ryan Davis, Jim Marlowe, and Jasmine Ashton.
supported by 11 fans who also own “FLANGER MAGAZINE "Breslin"”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt