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Fiddlebox & Nick Swannell | Tears of a Robot

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New Age: Environmental Folk: Modern Folk Moods: Type: Instrumental
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Tears of a Robot

by Fiddlebox & Nick Swannell

Soundscapes in Klezmer, Machinery, Wind and Water
Genre: New Age: Environmental
Release Date: 

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  Song Share Time Download
clip
1. Sea of Serenity
Fiddlebox & Nick Swannell
4:08 $1.29
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2. Shadow of the Ghost in the Machine
Fiddlebox & Nick Swannell
4:34 $1.29
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3. The Child Machine
Fiddlebox & Nick Swannell
4:24 $1.29
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4. Half Moon over the Devonian Forest
Fiddlebox & Nick Swannell
5:33 $1.29
clip
5. Old Song in the Desolate City
Fiddlebox & Nick Swannell
4:28 $1.29
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6. Artificial Empathy
Fiddlebox & Nick Swannell
4:52 $1.29
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7. Sleeping Under the Machines
Fiddlebox & Nick Swannell
4:09 $1.29
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8. Old Song in the City of Dust
Fiddlebox & Nick Swannell
1:42 $1.29
clip
9. Deus Ex Machina
Fiddlebox & Nick Swannell
3:10 $1.29
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Tears Of A Robot

‘Soundscapes in Klezmer, Machinery, Wind and Water’

New album by Fiddlebox (George Whitfield and Helen Adam) and Nick Swannell (Studio 49)

Fiddlebox’s fourth album, ‘Tears of a Robot’ is a collaboration with electronic musician and sound engineer Nick Swannell and is being launched ‘ on a date ’. It is an album of fiddle-led, synth-heavy, evocative tunes featuring field recordings of wind turbines, waterwheels, and nineteenth century industrial machinery.

Deliberately cinematic in style, and with dystopian film classics in mind, this album gives the listener space to create their own images inspired by wide soundscapes. The music evokes the sounds of industries gone by, and the music is filled with steampunk as well as a ‘music concrete’ sensibility. The dramatic and atmospheric sound of a 100m wind turbine is fused with the emotive and lyrical melodies of Klezmer (Eastern European Jewish music), Sephardic songs from Renaissance Spain and new writing. The violin melody leads us on an emotional journey throughout the album, as the mood changes through lyrically sweet, industrial grunge, and windswept sonic spaces.

Helen says “my obsession with the cranky, intricate and funky sounds of mid 19th century industrial machinery has led to field recordings of wool carders and a spinning mule becoming the rhythmic driver behind these tunes”. Waterwheels and the machinery they drove have the beat and pulse of living beasts. They are contrasted here with the synthetic smoothness of both analogue and digital synthesisers; historical instruments from the 70s synth revolution, as well as their digitised contemporaries.

By blending live, pre-recorded, and programmed sounds together a distinctive and unique sound palette and rhythmic sensibility have been created. The music explores the contrast between live

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