Posts Tagged ‘Right From Real’

LYDIA AINSWORTH – ” Right From Real “

Posted: October 22, 2015 in CLASSIC ALBUMS, MUSIC
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After a collection of two EPs released earlier this year, this is a revelation of a debut: stunning, fully-formed, suffused with wintry atmosphere, As a female singer-songwriter whose palettes are artpop and synth-pop, the comparisons come fast and inevitable: one-time label mate Grimes (the comparisons end there), the avant-pop likes of Julia Holter, and, of course, Kate Bush—in particular, and of all things, Bush’s work with the Trio.Bulgarka

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Yet Julia Ainsworth’s vision is singular. “Candle” is an orchestral piece blown to bits by a backmasked digital gust. (If . has a characteristic trick, this is it.) “Moonstone” periodically sounds about to turn into a Purity Ring song at half-speed, but settles as an otherworldly almanac of words and sounds. “Malachite” is the kind of gothy synthpop dozens of more seasoned artists have failed to get this gloriously right. “Take Your Face Off” doesn’t seem like it should work, swooping through cello gloom, R&B melisma, sunsoaked keyboard lines, and twitchy synth lattices, it evokes Tori Amos (in a couple places, Ainsworth channels near-exactly some Amos inflections that aren’t that common), Dawn Richard (another doppelgänger, in her low range and songwriting ambition) and the Art of Noise And, somehow, it all coheres. It’s intricate enough to reward close listening and immediate enough in its pleasures to sound astonishing from listen one; during its best moments, “Right from Real” is breathtaking in the best way: the way where you didn’t know music could do this.

LYDIA AINSWORTH – ” White Shadows “

Posted: December 22, 2014 in MUSIC
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Lydia Ainsworth’s pop experiments sound like they’re made for big screens. Close your eyes while listening to her recent debut, “Right From Real“, and the considerable power of her orchestral strings, horns, and dense, wordless harmonies transports you to a dark cinema, where surreal images tumble like falling skies, and it’s not quite clear what comes next

So it makes sense that the Toronto-based Ainsworth is a composer of film scores who studied at both McGill University in Montreal and New York University, where she finished graduate school in 2012. At McGill, she once composed a Philip Glass-inspired score for a 50-piece orchestra; at NYU, she studied with Joan La Barbara, a pioneer of extended vocal technique who sung for John Cage, Steve Reich, and Judy Chicago. It was La Barbara who encouraged Ainsworth to sing on the film scores she was making, which she did for the first time in 2011. That same year, when a friend asked Ainsworth to perform at a party, she began writing her own songs in earnest. “I didn’t have any material,” Ainsworth explains of that first Brooklyn gig, “so I wrote a couple of songs and got a little orchestra together.” Those songs, “White Shadows” and “Candle”, became the seeds of Right From Real.

A self-described perfectionist, Ainsworth spent two years creating her debut LP. Owing to the record’s meditative quality, Ainsworth would take her demos and walk with them for hours around her Bushwick neighborhood, near the Montrose L train, over the Williamsburg bridge and back, clearing her mind to find perspective. She was inspired by “the notion that the impossible is possible, and is all around if you only look hard enough,” searching for a middle ground between beauty and terror. The resulting collection has the appeal of pop eccentrics like Kate Bush or Bat for Lashes, if refracted through the skewed kaleidoscope of her label, Montreal’s Arbutus Records, which released early work from a kindred spirit, Grimes.

This has quickly become one of my favourite and most played albums this year the orchestration is just incredible.

LYDIA AINSWORTH – ” Island to Island “

Posted: December 20, 2014 in MUSIC
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Combining traditionally beautiful, but almost Medieval choir-esque singing, with voice samples, electronic beats and wood instruments (Ainsworth started learning the cello when she was 10) into a minimalist pop structure that seems heavily influenced by her film scoring she was completing between writing these songs,check out her new album “Right From Real” its a solid debut. Listen at the right time and it can transport you to what feels like a dance party of the future, taking place deep in the bluish green forest pictured on her album cover.

LYDIA AINSWORTH – ” Wicked Games “

Posted: December 17, 2014 in MUSIC
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A few months ago, the Toronto singer and sound manipulator Lydia Ainsworth released the lovely and cinematic debut album “Right From Real“. And now she’s the latest in a long line of indie types to cover Chris Isaak’s deathless 1989 torch song “Wicked Game.” Ainsworth has been doing the song live for a while, and now she’s shared a recorded version of it, which layers up her voice in subtle and effective ways. Her version is mostly just voice and piano, but it feels lush and finely orchestrated, mostly because of quiet production details that you might not consciously notice but which add to the feel of the thing.

LYDIA AINSWORTH – ” Malachite ” and “PSI

Posted: December 17, 2014 in MUSIC
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Lydia Ainsworth, debut thrives on haunting melodies and draws inspiration from a wide range of musical sources, featuring use of voice sampling and string arrangements woven into a unique minimalist fabric.Composer / producer / singer Lydia Ainsworth has been secretly writing and recording songs over the past three years from bedrooms and basements between Toronto and Brooklyn. What began as pass-time sketches between composing music for film and multimedia projects has over time revealed an enchanting collection of experimental pop songs with a life of their own.
Blurring the boundaries between indie music, filmic orchestration, and electronic music, Lydia’s debut ‘Right From Real’ thrives on haunting melodies and draws inspiration from a wide range of musical sources: Verdi’s Requiem, Ace of Base, Bulgarian Choirs, Bernard Herrmann, Tones on Tail, Art of Noise, to name a few. This sense of unexpected marriages of influence flows throughout much of Lydia’s previous work which features use of voice sampling and string arrangements woven into a unique minimalist fabric.

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