Constellation released a free MP3 from the album to celebrate the release date today. “Treehouse Schemes” is a special one for me and a great example of the collaboration with Mark Lawson on the mixology side of things! You can listen and download it from the Soundcloud player above. Constellation had these nice words to say…
I Thought It Was Us But It Was All Of Us, the debut album from Rebecca Foon’s Saltland project, is available now. To mark the occasion we’re offering “Treehouse Schemes” as a free MP3 – one of the more deliberately structured songs on the record, a beautifully paced and melodically direct composition that rallies several of the album’s guest players. Little Scream’s Laurel Sprengelmeyer contributes cascading guitar chords, Mishka Stein holds down the walking bassline and Jess Robertson deploys bass flute tones that swirls around the mix courtesy of Mark Lawson’s signal processing and production tweaks. Laurel and Jess join Rebecca on vocals for the song’s choruses as well.
Thanks Constellation!
I also want to thank some blogs and zines that have given the album their support and these kind words.
“Crafted with immense care, Foon’s recording eschews dramatic dynamic contrasts for a subtler brand of entrancement and features music of integrity refreshingly free of affectation or trendiness… The album’s natural tone manages to feel both intimate and epic.” • Textura
“Beautifully arranging musical strands together with caring fingertips, Saltland effectively link many stylistic thoughts until they are left as one, dark entity living amongst the corners of thin, silver threads… ‘I Thought It Was Us But It Was All Of Us’ sparkles with an amazing amount of courage.” • Fluid Radio
“An intricate and understated approach, blending soft, tender vocals with strings, drones and electronica. ‘All of Us…’ is at its most impressive on pieces like ‘Unholy’, which showcase Mark Lawson’s masterful engineering. Foon’s hypnotic vocals are intoned against a backdrop of seamlessly-mixed live and electronic percussion, delayed guitars, and droning strings; the whole merges dreamily into a single horizon, recalling the lush textures of Tara Jane O’Neil.” • The Skinny (4/5)
“The compositional style may be classical, but the delivery is modern and mesmerizing. Foon turns out to be a surprisingly sweet singer, one whose voice itself is a lozenge.” • A Closer Listen
“With Foon’s hushed vocal tones and the layered production, there is a dreamlike aspect to the sound and a familiar quiet melancholy, but the subtle details and breadth of instrumentation give a satisfying depth and texture.” • Rock-a-Rolla
xo
RF