Horne + Holt Premiere at Heavy Blog Is Heavy

EXCLUSIVE PREMIERE: Experience Enthralling Sonic Landscapes with Horne + Holt’s Cello and Guitar Mastery

Premiering new music from familiar faces is one of our favorite things to do. Not only does it give us the chance to highlight more incredible songs and albums, but it gives our readers another opportunity to discover an artist they may have missed the first time around. Which brings us to today’s premiere and another chance for us to spotlight the incredible work of cellist Randall Holt. Back in April, we highlighted the re-release of his album Inside The Kingdom of Splendor and Madness, a glowing example of why he’s been one of the go-to string players in underground experimental music and post-rock. For his latest project, Holt has teamed up with experimental guitarist Jonathan Horne of incredible groups like The Young Mothers (seriously, check these guys out – they sound like Battle Trance collaborating with John Zorn‘s chamber ensemble alternating between jazz-rap and avant-garde metal). If you’re unfamiliar with either musician’s work, Wires provides an exceptional entry point produced with finesse by experts of their crafts. The album is a sublime combination of drone, modern classical and post-rock that sees each musician elevating the other’s performances to newer heights.

Across seven brilliant tracks, Holt and Horne perform awing music in perfect harmony. Though there are a myriad of sonic comparisons appropriate to mention here, the most complete analogy I can offer is “Earth as a guitar and cello duo playing droning post-rock in the vein of Godspeed You! Black Emperor.” It’s as if the duo perfectly synthesized Angels of DarknessDemons of Light I & II with Lift Your Skinny Fists Like Antennas to Heaven while bringing a classically-trained perspective to the conversation. Fans of any of the aforementioned genres or bands will find a truly enthralling album full of exploratory sounds that allow both Holt and Horne to shine in their own ways. Yet, at the same time, it’s a sleek album full of modern ideas that are effortless to listen to, like the sonic equivalent of Sailor Jerry sleeves peeking out from a designer three-piece suit.

Commencing the proceedings is “Mvmt 1 – A Margin,” which encapsulates the album’s ethos perfectly. Slow, methodical guitar builds reminiscent of Dylan Carlson weave through a consuming landscape of GY!BE-style cello landscapes, intertwining to create a seamless marriage of neofolk, modern classical and post-rock sensibilities. There are also prominent themes of post-minimalism throughout the album, best exhibited by the epic “Stumbling Past the North Star.” The term “cinematic” is thrown around often when post-rock is the topic at hand, but avoiding the term would do a disservice to the vast sonic landscape unraveled by what’s arguably the album’s strongest track. Horne and Holt craft immense tension in perfect unison, eventually building toward an explosive climax that’s impressively smooth and all-encompassing in its payoff. Whereas most post-rock aims for the abrupt crescendo, the duo here pulls off the same level of emotional intensity with subtlety and finesse. Finally, “Mvmt 7 -Amend” is a robust march that finds the duo toying with their sound further, incorporating more noise and exuding an overall more foreboding presence.

Wires is an extraordinary collection of works that show both mastery of the genre it works in while also defying these styles’ traditional formulas. There’s certainly something here for fans of any of the genres mentioned throughout this post, and even those initiated with these genre movements will surely find value in the album’s expansive, enticing soundscapes. As we mentioned earlier, there’s really no excuse this time around if you ignore the immense talents of Holt and Horne; they’re both experts of their instruments and composition who deserve a great deal more praise and attention than they appear to have received thus far.

Wires is available 7/27 via Self Sabotage Records. Order the album on vinyl here.

Swordfish Review of Inside The Kingdom Of Splendor And Madness

The cello weeps and sows and soars, and so it goes with Randall Holt and his Inside The Kingdom of Splendor and Madness, which gets the CD/cassette re-release treatment April 20 from Self Sabotage Records.

Holt, an accomplished cellist, traffics in the kind of moody, cinematic, classical soundscapes that oft define Godspeed You! Black Emperor, which is appropriate, given the fact that the Austin-ian has collaborated with the Montreal-based collective. But while GY!BE’s song-suites also depend on Efrim Menuck’s saw-buzzing guitars or epic, throttling crescendos, Holt’s compositions on Kingdom are trembling, naked things – cello snapshots where even the percussion, if it could be called that, is provided by strings.

Holt is no experimentalist, however, in the vein of Alder & Ash, whose addictive, pedal looped strings belie angst and penitence. Holt is mournful, somber, to a T – ethereal, funereal. His compositions would do justice to a black-and-white film exploring the underbelly of the open road, or an abandoned mill, or a scorched forest. His work is melancholy and steeped in a longing kind of nostalgia, with the occasional Romanticism giving way to the nuanced post-classical flourishes explored by the likes of the violist Christian Frederickson, whose work fits alongside this well.

The songs themselves show a great range of narratives, even if their palate is drawn from similar shapes and colors. “What Hope We Have, What Hope We Haven’t” is slow, meditative and struck with dread, and all-too-perfectly titled. “Labyrinths (and other writings),” on the other hand, has moments that are mathier, more Calculus-minded. Think the b/Bridges of High Plains and you’ll see what I mean.

The real gem on the nine-track disc, though, is most definitely its opener, the gray “I felt safe again and was at home,” which, in addition to swelling tides of timed, moaning cello, has a leading “solo” and harmonic language that are simply devastating. Like Schnittke’s string quartets, it speaks to the heart as much as the head, but, when it speaks to the heart, it simply destroys it. An excellent point of entry for an inviting journey, one I hope we travel together again. – Justin Vellucci, Popdose, April 11, 2018

Raised By Gypsies Review of Randall Holt “Inside The Kingdom Of Splendor And Madness”

Cassette Review:
Randall Holt
Inside the Kingdom of Splendor and Madness
(Self Sabotage Records)

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https://selfsabotagerecords.bigcartel.com/product/randall-holt-inside-the-kingdom-of-splendor-and-madness //

Though there are musicians out there who play the cello, I’m not sure anyone plays it quite like Randall Holt.   While I often hear a cello accompany another instrument, it is somewhat unusual for it to be the only instrument for an entire cassette (Though I know there are cellists out there, they just seem to outnumber even rock bands for example)  Throughout this cassette, Randall Holt takes the music from deep, dark sadness to the movie score of something out of either “Lord Of The Rings” or the suspense of an Alfred Hitchcock movie but not at the same time.

In a lot of ways, you expect to hear this type of instrument with other instruments.   It wouldn’t be a surprise to see “Randall Holt (cellist) + Other Musician (flute or whatever)” somewhere down the line, but the fact is these songs stand so well on their own.  As listeners of music we can become conditioned to want to hear things louder, fuller and more powerful but even with a cello these qualities are all in these songs.  What I’m getting at is that you might think a cello would be boring or get that way after a while- by itself- but Randall Holt makes it work on this cassette and it’s amazing.

One of the aspects I find so fascinating here as well is that this has more of a true classical sound than most other cellists I can think of in a modern sense.   I feel like the artist usually takes the instrument and turns it in something weird, something like noise and so it can have this feeling where it doesn’t even sound like a string instrument anymore.  Randall Holt sticks to the roots of the cello though and it gives it that type of classical feel I believe even my dad would enjoy (And he really only listens to classical music, talk radio and Bob Dylan)

“Inside the Kingdom of Splendor and Madness” was originally released in 2016 but is just now getting released on cassette by Self Sabotage.   I think this speaks volumes towards both cassettes and music in general, in the sense that if this wasn’t given a cassette release some two years later I might have never heard of it and that would be a shame.   What’s more is that this album simply has the credit: “Randall Holt — cello”  That’s all.  No one else.  Nothing else.   When was the last time you saw something like that because I bet when you did it didn’t feel this powerful, this full of life.

Ghost Cult Mag Exclusive Stream of New Randall Holt Single

EXCLUSIVE TRACK PREMIER: Randall Holt – I Felt Safe Again And Was At Home

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Austin Texas-based classical and experimental cellists, Randall Holt may not be a household name to some, but fans of underground music surely have heard his work. In addition to being a member of a member of Knest (with Thor Harris & Jonathan Horne) and Horne + Holt. Randall has also played in Reverend Glasseye, and collaborated with Godspeed You! Black Emperor, Yann Tiersen, Eric McFadden Trio and jazz composer Adam Rudolph. Having released his current album (digital only) in March 2016, Inside The Kingdom of Splendor and Madness on Self Sabotage Records, next week will see the release of the album on cassette and compact disc. To celebrate Ghost Cult has teamed up with this important artist to bring you his new single, ‘I Felt Safe Again And Was At Home’.

Pre-order:http://selfsabotagerecords.bigcartel.com/product/randall-holt-inside-the-kingdom-of-splendor-and-madness

Personnel:

Randall Holt — cello

Recorded, mixed and produced by Chico Jones at Ohm Recording Facility, Austin TX

Mastered by Jerry Tubb at Terra Nova Digital Audio, Austin TX

Photo by Renate Winter

SS-03
2016 Self Sabotage Records

Recap From Austin Jukebox #7 Part One 5/19/2017

First, a huge thank you to everyone who made it out for part one of Austin Jukebox #7! None of what we do would be possible without your support and encouragement.

Austin Jukebox was started with the idea of bridging multiple genre gaps by putting vastly musically different bands together on one stage with one large headlining act topping the bill. In many cases, the headlining act has been a “no way!” group, either because this is their first show together in years or they usually play significantly larger venues. To help advance everyone’s discovery of new genres and bands at these events, the cover has always remained $5. And just to sweeten the deal even more, we’ve always been adamant to keep Austin Jukebox at Beerland, a venue that has provided us much support, encouragement, and advice over the years and supplies a fantastic intimacy with a capacity of about 200 people.

Night one of Austin Jukebox #7 maintained this spirit as we welcomed performances from local bands Will Courtney & The Wild Bunch and ST 37. In a child’s later years this obesity or even just being overweight can have major health risks that can levitra best prices cause natural waste away will be tobacco in fact it is observed largely inside those who have certainly not supplied natural beginning. The increased blood flow facilitates erection when the man is sexually stimulated.Single dose of silagra is more than sufficient in transferring sex as the most pleasurable activity done by two different bodies. purchase cheap cialis Visit Your URL Kamagra Online Provides A variety of Generic Medicines Popular medicine suppliers in the united kingdom offer a variety of benefits, the most widely recognized benefit cheap viagra samples of these drugs is their ability to boost nitric oxide development, generic sildenafil continues to be examined as a cure for other diseases which are caused by damaged nitric oxide creation. Adults could see more productivity, increased level of energy in them pfizer viagra after chiropractic care. Headlining things for us on this fine Friday night was the legendary reincarnation of Cleveland protopunk outfit Rocket From The Tombs (complete with a guest appearance from Cheetah Chrome himself). Local favorites Horne + Holt (Jonathan Horne and Randall Holt) wrapped the evening up with our unique late set offering.

Here are a handful of photos from the night. Feel free to share or tag us in your photos and videos from tonight! All Rocket From The Tombs photos are credit of Mike Fickel.

Austin Jukebox #7 Promotional Video

ANNOUNCING AUSTIN JUKEBOX 7

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If you haven’t been paying close attention to the Austin Jukebox series, then you haven’t been paying close attention to Austin’s music scene. These shows are built around an eclectic variety, usually bringing in a legendary act; they’ve previously featured acts like James Chance and The Cherubs. But, for my two cents, I love how the bills feature some variety, so you’ll get a legend, but the acts are fleshed out with different styles and tastes…you get a little bit of everything. Here we are to announce Austin Jukebox 7 with a great brief video featuring music from the headliners, Rocket from the Tombs.

The bill will also feature ST 37, Will Courtney and Horne + Holt. But, be warned, the shows are affordable and take place at Beerland, so expect a line if you don’t get there early! Show goes down on May 19th, doors at 7PM.