Series

St Andrews Sands: Part Nine

As we know all too well, as lovable and quaint as St Andrews is, there come moments where not even the sight of the never-ending North Sea can alleviate the feeling that we’re being held hostage within the town's three streets.

As we know all too well, as lovable and quaint as St Andrews is, there come moments where not even the sight of the never-ending North Sea can alleviate the feeling that we’re being held hostage within the town’s three streets.

Here’s a thought: imagine if you were stranded on the sands of St Andrews..?

Taking inspiration from BBC Radio 4’s Desert Island Discs, every week our resident writers will deliver their choice of five albums and one track, to be their one and only soundtrack, if they were ever forever stranded on the beaches of St Andrews…

THE ALBUMS

1. Boards of Canada, Music Has The Right To Children (1998)

Boards of Canada belong to Warp’s tree; their sounds mirror fellow branches Brian Eno and Aphex Twin, yet they managed to develop a whole new feeling with their music that had not been touched by their predecessors. This album, their debut album, caught them in a rock perspective, whilst they cautiously tweaked their mixing to produce something fresh and new, something that allowed them to build a highly reputable base. The album brings with it a reminiscent feel, a look back onto childhood. It manages to highlight the darkness and tension associated with those days, something not regularly perceived. It’s certainly a dark one, but the juxtaposition of the title really makes it special.

2. Actress, R.I.P. (2012)
Actress’ repertoire is vast yet varied; his production style is distinct yet all to familiar; and his production motivations are thought provoking and impressively well planned out. This album filled the gap in the electronic music industry and introduced an epic twist to the previously released albums of its time. ‘Uriel’s Black Harp’, a personal highlight of the album, floats along with stuttering sparkles appearing, as if, out of nowhere. Aside from the beautiful production Actress manages to create something incredibly daunting: his ability to create a masterpiece using solely digital components overruns his physical capabilities, which in turn allows his body to rest in peace.

3. Four Tet, Pause (2001)

Pause was the second in the series of the southwest Londoner’s ever-growing history. It built a new side to the producer’s front, something with a folky feel yet maintaining his futuristic sound. The music itself has depth, dignity and meticulous influence, whilst it almost artificially builds spirituality inside it.

4. DJ Sprinkles, Midtown 120 Blues (2012)

Sprinkles used this album to challenge the listener, to make him query the true of meaning house music. Starting off with an eerie vocal opener he sets the tone with his questions. In the further contents of this album Sprinkles manages to interpret his true meaning of house to the listener, trickling textured instrumental sections with looped vocal. He delves into the hidden meaning of deep house, picturing it to be something to mourn and be sad to, deleting the more common thought of it bringing celebratory feelings. It’s emotional and intellectually stimulating, something many musician have been longing to capture in the past.

5. Leon Vynehall, Music For the Uninvited (2014)

Vynehall returned to Martyn’s 3024 label for this mini album that was heavily influenced by his Mum’s music taste of hip-hop and funk. Vynehall has been resilient in the house music scene over the past few years, and this album just proved just that. He opens with sheer elegance, string lines that build warmth highlighting his pure production skills. Consistency breaks with the fourth track ‘Pier Children’ as shuffling textured sounds slip in from multiple directions. ‘Christ Air’ adds familiar melancholy to the dance floor orientated sounds, allowing the listener to stop and take in the beauty of Vynehall’s precision.

THE TRACK

Peven Everett, Feelin’ you in and out

Take a lesson from the God Father.

Words: Kirstin Valente

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