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"...this is also the most beautiful music Dawson has ever recorded. The arrangements are period-appropriate, all Renaissance Faire flutes and choirs chanting in unison like an angry mob. The production is both visceral and lush, its gentle instrumentation punctuated with jarring bursts of percussion and horns. In “Soldier,” Dawson plays acoustic guitar with a deft musicality, akin to Dave Longstreth’s knotty riffs in Bitte Orca’s “Temecula Sunrise.” As the melody evolves into something smoother and simpler, Dawson’s lyrics also find a sense of peace. On an album that features enough archaic diction to warrant a glossary, “Soldier”’s plainspoken lyrics are its most effective ones. It’s heartbreaking when Dawson simplifies the narrator’s anxiety into an artless phrase: “I’m really scared of going.” It’s equally stirring when, upon imagining a future with his family, Dawson bellows the closing lyric, “My heart is full of hope,” his voice rising to a triumphant howl."
Pitchfork on Peasant - https://pitchfork.com/reviews/albums/richard-dawson-peasant/ ................................................................................................................................................................................
"London based US musician Ashley Paul is set to release a new record on Slip this year. Titled Lost In Shadows, the album promises a personal unearthing of the experience of early motherhood, and follows on from previous albums Slow Boat, Line The Clouds and 2014’s Heat Source.
The LP was recorded over three weeks during a residency at FUGA in Zaragoza in Spain in December 2016 – it’s described by Paul as “a cathartic outpouring”, and is the first thing she has written since the birth of her daughter 11 months ago. The record is influenced, she says, by “hours spent awake at night in a dreamlike state of half consciousness, darkness and solitude”.
Paul plays guitar, saxophone, clarinet, voice and percussion on the record. Listen to “Night Howl” here - https://www.thewire.co.uk/news/49046/ashley-paul-debuts-on-slip .....................................................................................................................................................................................................
"Guitar reigns supreme here. A faded, scrubbed, scuffed guitar sound that seems to slink along the skirting boards. Sombre chordings and plucks play with time, swinging in places (‘Dolomite 98’ is almost jolly; like a weary parent’s forced smile) adding space like Dub. To keep it all frosty Phil introduces the occasional fear piano (hear ‘In Holland Cloth’ brother and tremble) and dervish organ (mainline ‘Golding’s Eclipse’) with fog grey electronics smeared carefully over a few of the tracks. The biggest Hapsburg surprise is the addition of super subtle drums every now and again; courtesy of Bong’s Mike Smith. A lazy journalist would point to the drums and shout “A-Ha. Slow drums and slow guitar…that’s post-rock that is!” And of course they would be wrong. There’s an older tradition here. The tradition of the saga, the legend, the epic story shared between glowing faces over a roaring fire. Recurring Dreams is a lengthy wallowing in the Kingdom of Hapsburg…and this is a place where you need to take your time, pull up a stool, bathe your feet in the stream. Recorded mostly in the early hours, on the edge of sleep, gives Recurring Dreams a definite feel…we often talk of peripheral vision…could this claim to be the first example of peripheral listening?"
