Kulturklubben

Ueno Takashi von den Tenniscoats schreibt über sein Album In Absence:

Many of albums releases in 2018 and 19 were really good, and when I was listening to everything, I listened to an album called “abyss kiss” by an artist, Adrianne Lenker.

When I heard the acoustic guitar arpeggio in the intro, I immediately thought, “Oh, this is a good album.” Then a singing voice came in and it turned into conviction.

If you think about it, Tenniscoats also have this pattern. A singing voice comes in from the arpeggio of an acoustic guitar. But what if the voice doesn't come in? Will the listener wait forever for the voice that should come in forever? Or do you wait for the voice in the corner of your heart thinking that this is good?

There is no voice in this album at all. But even if I listen to it to the end, I feel that the performance is still going on, and I feel that the voice will come in soon.

I made this album because I wanted to listen to such a work.

Auf jeden Fall ein guter Grund ein Album aufzunehmen und beim Klick auf Abyss Kiss würde man auch eine Instrumentalversion dazunehmen.

Bei Adrianne Lenkers vor wenigen Tagen erschienenem Album songs gibt es dann auch eine Zugabe namens instrumentals ohne Gesang und Song-Fokus, zwei lange Stücke, die klingen, als würde jemand im Nebenzimmer spielen.

Oder in der Hütte nebenan, in der ist es nämlich enstanden:

They used a binaural microphone to capture the sound of the room. “You really feel like you’re sitting in front of Adrianne singing,” Weinrobe said. “You can hear the birds go by, and you hear the squeak of the fingerboard, and the sound bouncing off the walls.” New Yorker