19948yellow6 live / album etc.
- Apr 7, 2008Hi
just a quick update to let those of you in easy reach of Bristol (UK), that
I will be opening for the mighty Crippled Black Phoenix at The Croft,
Bristol on Saturday 12 April. I'm on first so probably on stage around
Venue info here: http://www.the-croft.com/ (i'm not in the listing as it is
a late addition, but i will be there)
Also, When The Leaves Fall Like Snow is available in stores on 21st April.
You can check out some edits of tracks on the MySpace player, and the
current Wire Tapper cover mount CD has a track on it. It is available now
by mail order from yellow6.com and make mine music mailorder (links below)
if persuasion is needed, there's a couple of reviews recently appeared:
"Jon Attwood has always made music for people with time on their hands.
Also, even on the lesser moments, the music has a rare depth and
intelligence which Attwood's contemporaries struggle to match even on their
"My first impressions of track one 'Still Water' were unavoidably linked to
Labradford thanks to its mood, languid pace and use of instrumentation.
'Street' is undoubtedly Yellow6 though; it's reverb-heavy guitar lines
resonate with a haunting chill that will be familiar to all followers of
Attwood's previous work. The pace only picks up as the title track finds
space for some skittering beats amongst the deep, dark wells of Attwood's
elongated chords. 'Fall' then settles down into the quietness of 'Street
Writing' as two guitar melodies run in parallel, one twinkling and pretty,
the other heavy and foreboding.
Disc two 'Further' is louder, more confident offering. Yet despite the harsh
sounds on opening track 'All Space', 'Further' is arguably the more
addictive listen. 'You Can't Be Everywhere He Said', 'Last Saturday' and
'Norwest Passage' contain the kind of warmth missing from 'Fall', whilst
'Everything Changes' features cascading walls of enveloping darkness. "
"Combining the aching slow core artistry of early career Codeine enhanced by
the strangely mournful warmth of Roy Montgomery, what strikes you about
'fall' is its relative quietness, almost like a murmur the melodies meander
majestically like skirting eddies across an arid landscape, part tender part
hollowed, the softly tendered melodies are fractured by silent pauses
endowing an almost respectful resonance especially on the opening cut 'still
water'. All at once elegant and eerie these aural eulogies or rather more
spectral memorials captivate and caress with solemn repose as though pining
for something long since lost or signifying a moment captured frozen for all
"Disc 2 - 'further' - features 10 compositions that more or less confirm and
consolidate Attwood as one of the scenes leading exponents of mood evoking
atmospherics. All the trademarks tricks are here providing a rich and varied
aural canvas - from the statue-esque and radiant 'moderna'; the meditative
cavernous sculptures ('all space'); the daintily treated frosted pastoral
plateaus (as on the Barry meets Mancini numbed shimmer of 'amateur') to the
pirouetting opines as on the ethereal and evocative shade wearing Gnac like
'norwest passage' with Attwood mercurially orchestrating the parched, the
porcelain and the perfect. Highlights indeed reveal themselves in the guise
of 'you can't be everywhere he said' and 'everything changes' - the former a
smoking dream-scaping haze of caressing curvatures scratched tenderly and
bathed by fuzz shimmies the latter festooned in all manner of lunatic swirls
of the bliss out chamber psyche grooves. File under cerebral chill out pop"
Thanks for listening
- y e l l o w 6 -
- make mine music -
- MySpace -
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