8Sided Blog

a zine about sound, culture, and the punk rock dream

Ralph Kinsella and the Poetics of Bedroom Listening

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Ralph Kinsella contacted me through this blog and emailed a link to his just-released Bandcamp-only Abstraction EP. The tunes blew me away — this was an ambient music I wanted to hear, melodic and optimistic, dynamic rather than constant, and featuring guitars, both processed and clear. I wrote about it in a previous #Worktones segment, giving the Abstraction EP high marks. But, behind the scenes, I emailed Ralph asking if he thought of following up with an album. And if he’d like my 8D Industries imprint to release it.

Ralph responded with the completed demo of his album Lessening. Though recorded at the same time as the Abstraction EP, Lessening felt like a step forward. Hearing Ralph’s music at a 50-minute stretch suited his sonic world-building. The music is glistening and evolving, taking on suggestive textures that convey movement from place-to-place. I’m loath to bring up ‘the lockdown,’ but these hopeful, outward-reaching tones are an antidote to seclusion.

Today Lessening is available on all the streaming platforms as well as Bandcamp. I can’t think of a better way for 8D Industries to close out this year of uncertainty — it’s an album of hesitant lightness and a resolve to keep going. 

I briefly spoke to Ralph Kinsella about this album, his music, and the beautiful part of Scotland where he resides. 

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I take it Abstraction is your debut under your own name. If so, what’s your background before that? I believe you were in a band or bands, correct? 

Ralph Kinsella: Abstraction and Lessening are the first records I recorded alone, and roughly at the same time, during the COVID-19 lockdown. They are siblings in that way, separated at birth. I wanted to do nothing more than capture something — a feeling, an emotion, maybe. Certainly, the unassailable need for extended and stretched forms of expression. Hopefully, listeners might relate to feelings of detachment and piercing melancholy, as I felt when making the records. 

I spent a long time improvising and experimenting with sounds in the lead-up to these releases. Before making these sounds, I was in various bands (mostly lo-fi bedroom rock). 

Tell me a little about your recording process. Anything surprising, either in technique, location, or even the gear you use? Do you approach the music with a ‘philosophy’? 

I record everything in a spare bedroom, and all the music starts with improvisation — usually on guitar (or synth) with a series of effects pedals. I try to use as little equipment as possible: a Stratocaster, harmonium, delay pedals, a cheapo synth, and a good synth. I use Logic Pro essentially as an eight-track. Limitations are the most important thing for me when working alone. So I avoid using any plugin instruments or too much DSP after recording. Like Keats, the philosophy is ‘truth’ – even though no such thing exists.

As a guitarist, how did you fall into this ambient style of music? Who are your inspirations/long-distance mentors for developing this sound?

The Swedish record label, Häpna, changed my life as a teenager. I’ve been obsessed with experimental music with post-rock leanings ever since. I’d go to Monorail Records in Glasgow and pick up anything new from the label (usually based on the cover art – the aesthetic curated by the label/artists was wonderful). I found the record labels and artists contributing to this creative ecosystem inspiring. It showed me a different model, one centered on creative expression.

At the moment, I enjoy listening to (and trying my best to understand) the music of Elaine Radigue, Francis Dhomont, Loren Conners, and, most recently, Cucina Povera. I think they’ve all been unknowingly collaborating with me for a while now.

When I reviewed the Abstraction EP, I pegged it as “bright, gentle, and optimistic.” Do you think that’s a fair assessment? If so, how do you arrive at that ‘vibe’ when a lot of ambient electronic music nowadays is dark and droney? And the world being dark and droney, too?

You’re right – I’m always looking for a way to make instrumental (and more left-field music) without the ‘higher access mode’ approach (by that I mean, the “my music is hard to listen to, therefore it must know more than you do” approach). I like to thread/tread fine ground between pop/experimental and abstract/structure.

Tell me a little bit about Dumfries and Galloway. I know much of The Wicker Man was filmed in the vicinity, which is wild. How does the landscape affect the music?

Liminal, fringe spaces are always interesting places for creativity. The way that land visually falls away into the sea in the imagery of The Wicker Man has a similar energy to the kind of stuff I’m interested in: where rural and (semi-rural) Scotland uncomfortably meet urban areas. The boondocks, interspersed with fragments of debris and flickering housing scheme street lights. These places (and the artistic exploration of these places) imbue my work. 

Is there an ideal listening environment or frame-of-mind for Lessening? 

The records (as with most music of this genre) require a certain amount of engagement. The pieces are musical conversations – they want to start a dialog with the listener and, I think, reject passivity. I like the poetics of the bedroom for music listening – that’s where I created the music, and that’s where it probably resonates best. 

• Ralph Kinsella’s Lessening is out now on 8D Industries.

Put the Blueprint Down

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Season 3 of KCRW’s Lost Notes → This week, I spent 30 minutes each morning listening to the third season of KCRW’s Lost Notes podcast series. The other two seasons are terrific, but this latest particularly grabbed me. This time, each episode focuses on a prominent event or artist from 1980. The host is poet and cultural critic Hanif Abdurraqib, approaching his subjects with an engaging language. The series suggests 1980 as a pivotal year, setting the tone for the next decade and reverberating into the present.

If you’re me, the temptation is to skip to the end and listen to the fantastic Grace Jones episode (which also throws in a short history of Chicago’s Disco Demolition, occurring the previous year). But roll through them all, in order, to get a grander picture of the influence that year had on music and culture. Stevie Wonder, Ian Curtis, John Lennon and Darby Crash (together), Minnie Ripperton, The Sugarhill Gang, Hugh Masekela and Miriam Makeba — each topic is fascinating and offers something to learn. 

You can also read each episode online via KCRW’s site (click on the artist’s names above). But Hanif Abdurraqib’s personable narration, peppered with audio and musical examples, is the way to go. It’s a compelling production.

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Throwback on a Comeback: The Last Cassette Tape Factory → I enjoyed this mini-doc on ‘The Last Cassette Factory‘ — though I’m wondering if any tape manufacturers have popped up since the video’s release four years ago. As noted in the video, there’s a resurgence of cassette releases. This growth is partly thanks to Bandcamp and a need to give fans a limited, physical version of a release without breaking the bank for vinyl pressings. It’s an excellent idea for emerging bands to offer cassettes, especially when personalized with homespun artwork and packaging. Just don’t believe that your fans are listening to your cassettes. For one thing, as the first commenter on the video’s page notes, “The problem is I don’t see any quality cassette players being made today.” As for this video, we’ve all seen footage of the whirring machinery found in record pressing plants. It might be surprising to see that a cassette factory’s inner workings are also fascinating and highly technical. 

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A Guide to Sun Ra on Film → A useful list of long-form Sun Ra footage found on YouTube and elsewhere. Some of this I hadn’t seen before. The Magic Sun film, intended as a projection behind the Arkestra as they performed at Carnegie Hall, is particularly wild. And I think the writer of this piece somewhat downplays Space Is The Place — it’s a great movie, low-budget or not. 

As a proponent of focusing influence on one’s own ‘world,’ I like this quote from Ra in the listed French television interview: “You want a better world, put the blueprint down.”

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Ralph Kinsella – Lessening → My 8D Industries label released a new album today on Bandcamp. Titled Lessening, it’s the debut album from Scottish guitarist and ambient producer Ralph Kinsella. I’ve written about Ralph before — I discovered him after he reached out to this blog with his music. A few months ago, he sent the demo for this album, and I haven’t stopped listening. An antidote to lockdown — this is travel in a small room.

The last paragraph of the press release does a great job of describing Ralph’s music:

Kinsella’s guitar is the even thread, sometimes bare and then often processed, awash in texture and synthetic glares. Tracks like “In the In-Between Light” use the guitar to express enormity — of space and emotion — before the song is gently brought close by calming lines and reassuring synth patches. There’s also a soft tension in songs like “Lung Noises,” sharing the masterful slow build of the shoegaze genre’s finest practitioners. Lessening‘s closer, “Born on the Cusp,” offers a resolution — chiming guitars and reverberant tones signaling both loss and promise. This is the sound of an uncertain present feeling its way to that better world.

I hope you’ll check it out. Lessening is available now exclusively on Bandcamp and, like all 8D Industries releases, is set to ‘name your price.’ 

#Worktones: Ralph Kinsella, epic45, M. Sage

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It’s been a while since I rounded up some #Worktones that are inhabiting the home office via a pair of strategically placed desk-top speakers. Here are three albums that provide a calming concentration in these frazzling times.

Ralph Kinsella is a Scottish guitarist hailing from Dumfries and Galloway, a region primarily known to some (me) as the filming location of The Wicker Man. He reached out to the blog with a ‘check out my music’ email. I do listen when emailed (unless I’ve been bcc’ed, in which case I don’t), but I rarely receive delightful surprises like what Ralph had in store. His Abstraction EP is a gorgeous 5-tracker filled with soft, layered tones and subtle shoegaze moments. The guitar is front-and-center but awash in reverb and delay and accompanied by electronics and atmospherics. I’d describe Ralph’s EP as bright, gentle, and optimistic — as if Sarah Records released ambient music. I’m especially welcoming this sort of music into my life right now, and I can’t wait to hear Ralph’s future efforts. The Abstraction EP is a free download on Bandcamp, so there’s nothing to stop you from grabbing it. [LINK]

Continuing with more UK-based guitar ambiance, I was happy to discover We Were Never Here, the latest release from epic45. Rob Glover and Benjamin Holton, who make up the core of the band, started this project in 1995 while still in their early teens. epic45’s discography is a dozen-plus strong, and, sadly, I’m not familiar with any of it. But I take it this beatless and vocal-free album is a slight departure. A limited compact disc version of the album came with a booklet of photos of “familiar suburban and semi-rural ‘nowhere places’ that exist between large towns and cities.” The music matches this description, as these songs evoke vast, stumbled-upon locations — not the intended destination but compelling nonetheless. The sound is lush and memory-inducing, and, in addition to the occasional guitar, a menagerie of instruments, textures, and field recordings float from track-to-track. We Were Never Here is music for movies you watch with your eyes closed. [LINK]

M. Sage is a #Worktones veteran, and I previously remarked on the ‘happy accident’ spirit and sense of emergence I picked up from his music. Cattails & Scrap Tactics is his “collection of fragments, sketches, environments, and atmospheres,” compiled for Bandcamp’s June 5 artist-appreciation day, with all proceeds donated to Chicago’s My Block My Hood My City organization. I can hear the sound of an artist experimenting and wandering, but these are hardly rescued discards. It’s an album of thought bursts, welcoming attention and standing still as a complete document of the creative question. And it’s often beautiful and filled with exciting ideas. You’ll spot a guitar here, too, alongside a bevy of unidentifiable and mostly peaceful sounds to tickle the eardrums. If you’d like a download, you might be too late — the album was only available for purchase on June 5 as a special one-off. But it’s still streaming on the site — and that might be only temporary, too, so listen while you can. [LINK]

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