Cavalier Song - Blezard
Label Cavalier Song
‘You cannot say, or guess, for you know only a heap of broken images’. (T.S Elliot: The Wasteland)
Cavalier Song inscribe modern hymns that celebrate a merging of the imagination and material forms. Their cinematic stares study earthy landscapes and post-industrial wastelands, constructing a range of sonic artworks that meditate on the human condition, stirring memory and desire within definitions of a terrible sublime. The results are a series of lush, yet darkly affective, symphonic abstractions.
Cavalier Song deploy a post-minimalist sensibility, referencing a range of art forms including painting, sculpture and literature. Musical influences include Philip Glass, Swans, Grouper, John Coltrane and King Crimson, each echoing a fascination for repetition, duration and modal improvisation.
Cavalier Song present their first full length recording, Blezard (2015) produced by Stephen Cole Cavalier Song are currently working with Paul Rafferty on visual product to accompany their vinyl release and have also collaborated with the poet Mark Greenwood on a textual objet d’art inspired by the track ‘Oarfish’.
Blezard track list:
2. Stones for Throwing
4. Easy Spider
Each track from their forthcoming release depicts a series of shifting mise en scènes - from barren dystopian deserts to an omnipresence of troubling signs, sea creatures, unfathomable monoliths and dystopian glory holes. Cavalier Song have performed across the U.K in a number of venues ranging from the esoteric to the implausible; bingo halls and dilapidated cinemas providing alternative sites for the band to transmit intriguing soundscapes to discerning listeners . Other live projects have included a collaboration with Print at The Bluecoat utilising a composition of print room Foley for an improvised piece of music performed in March 2015. Cavalier Song have also worked alongside FACT Liverpool overre-soundtrack episodes of the cult sci-fi series The Twilight Zone.
Praise for Cavalier Song's live performances:‘Dark and dynamic requiems exploring notions of the chaotic and grotesque. Cracked cymbals and visible effects add a post-Brechtian performance dimension where odd-chords are dichotomised with minimal rhythmic treatments and sparse movements’. Getintothis‘Creepy and obdurate, spoken un-languages sync with loops of uncertainty and modern dystopian rhetoric’. Bido Lito!