David Daniell
Let The Darkness Fall
Recital is pleased to publish the first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors. Joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin), Darkness was recorded in the summer of 1998 on a Tascam Porta-5 in Loren and Suzanne’s Brooklyn living room, and issued the following year as a limited CD by Secretly Canadian.
The tender gloom of Let the Darkness Fall sounds like a broadcast of som…
Versions
"David Daniell and Douglas McCombs's first collaborative LP, Sycamore (THR 216CD/LP), was assembled from seven hours of in-studio improvisations. Daniell and McCombs sifted through the material looking for their favorite moments, then combined, cross faded, mixed, and matched those moments into something that made sense to them as a long player. For their new release, the double LP Versions, they gave the same seven hours of material to noted recording engineer and producer Bundy K. Brown (ex-To…
Knoxville
Documents the collaboration between CHRISTIAN FENNESZ, DAVID DANIELL & TONY BUCK for the 2009 Big Ears Festival in Knoxville, TN. Minimalist drum passages scatter over the top of textured layers of guitar & subsumed melodic sequences, eventually giving way to warm beds of evolving, tactile drones. Sonic rain showers roll into full-blown thunderstorms of effected guitar & pounding drums only to yield a field of shattered electronic & percussive debris
I-IV-V-I
ONE-SIDED, ETCHED GREEN VINYL. Released as a part of Table Of The Elements' 15th anniversary celebrations, this LP is another installment in the label's Guitar Series, which features contributions from Fennesz, SunnO)))'s Stephen O'Malley, Thurston Moore. By rights, David Daniell's name should be every bit as widely known as any of those other aforementioned superstars of the avant-garde. His album on TOTE sub-label Xeric (the magnificent Coastal) is an all too often overlooked masterpiece, and …
Sem
If it's initially difficult to identify these two pieces as based on location recordings, you may just have to take David Daniell's word for it. But whether or not these pieces aurally signify the times and locations specified in their titles, they do speak to a steely-unto-meditative concentration and an obsession with the irreducibility of individual sound events—the non-identity of the similar. All of which moves... gradually, gracefully... to conclude in an earthy layer of strings. These are…