Lucy Railton — Paradise 94 (22 Mar 2018)Lucy Railton — Paradise 94 (22 Mar 2018)         Lucy Railton — Paradise 94 (22 Mar 2018) Lucy Railton — Paradise 94 (22 Mar 2018)
✹♦✹  Solo album. Její nedávná práce, která se vynořila z dlouhodobého zapojení do soudobé hudby, existuje mezi moderním instrumentalismem, tvrdou elektronickou kompozicí a expresivní musique concrète. Jako violoncellista a kurátorka se Railton zavázala odstraňovat hierarchie, předvádět a programovat kanonická díla spolu s těmi nově vznikajícími od méně známých skladatelů. Její expanzivní a pestré zájmy vedly k nespočetným spolupracím a mezinárodním vystoupením, naposledy s průkopníkem vynálezcem a elektronické hudby Peterem Zinovieffem, klavíristou Kit Downesem, producentkou Beatrice Dillon a skladatelkou Kali Malone. Vedle těchto spoluprací Railton pravidelně provádí díla skladatelů, jako jsou Alvin Lucier, Iannis Xenakis, Morton Feldman a Pauline Oliveros, a její angažmá v tomto repertoáru vyvolalo rozsáhlé zkoumání rezonance, psychoakustiky, syntézy a mikrotonality, zájmu, které jsou téměř vždy přítomny v jejích vlastních pracích. Railton vystudovala Royal Academy of Music v Londýně, kde je v současné době hostující lektorkou. 
Location: London, UK
Genre: Electronic
Style: Ambient, Modern Classical
Album released: 22 Mar 2018 
Record Label: Modern Love
Duration:     33:24
1. Pinnevik
2. To The End   5:05
3. Critical Rush   4:20
4. Gaslighter   5:36
5. For J.R.   3:37
6. Fortified Up   3:08
7. Mastered by Matt Colton   11:38 
All music written & produced by Lucy Railton
Cello throughout played by Lucy Railton
To The End Drums: Beatrice Dillon
A side mixed by Lucy Railton, additional mixing by James Ginzburg
B side recorded by Richard Thomas, mixed by David Prior
Mastered by Matt Colton
Cover Photo & Artwork by Rebecca Salvadori
Boomkat Product Review:
✹♦✹  Prolific cellist and composer Lucy Railton releases her long awaited solo debut for Modern Love; an intense and multi~layered opus that reminds us of everything from Alvin Lucier, Beatrice Dillon and Nate Young, to Valerio Tricoli and Popol Vuh.
✹♦✹  A prolific performer who has appeared on countless recordings and collaborations with many important figures in contemporary music over the last few years, Paradise 94 is, remarkably, Railton’s solo debut — featuring archival, location and studio recordings which serve as a time capsule of all the myriad disciplines and influences that have brought her to this point in time. It both plays up to and shatters expectations of her music, which harnesses a duality of energies — acoustic/electronic, real/imagined, iconic/iconoclastic, pissed~off/romantic; out of place and androgynous — resulting in a visceral emotional insight and rare narrative grasp. 
✹♦✹  Variegated, asymmetric, and located somewhere between her usual fields of exploration, Paradise 94 gives free reign to aspects of her creativity that have previously been subsumed into collaborative processes and interpretations of other composers’ work. Here, she’s free to probe, sculpt and layer her sounds through a much broader range of techniques and strategies, placing particular focus on non~linear structural arrangements and exploring the way her cello becomes perceptibly synthetic through collaging, rather than FX. At every turn Paradise 94 is bewilderingly unique.
✹♦✹  The A~side unfolds an oneiric, inception~like sequence traversing temporalities, timbres and tones from what sounds like a spectral ensemble playing on a traffic island in Pinnevik, to bursts of rabbit~in~headlights trance arps emerging from meticulously dissected musique concrète in The Critical Rush, and a collision of masked vocals, string eruptions and a deeply moving, light~headed Bach rendition in For J.R.
✹♦✹  On the other hand, Fortified Up on side B tests out a far rawer approach, sampling herself playing the same glissandi over and again, which she layers into a sort of perpetual, sickly motion, the Shepard Tone riffing on the listener’s psychoacoustic perceptions before calving off into a cathartic dissonant folk coda in its final throes.
✹♦✹  In the most classic sense, you can only properly begin to f*ck with something from the inside once you truly know it. Railton’s dedicated years of service have more than equipped her with the nous and skill to do just that, gifting us with what will no doubt be looked back on as a raw, exposed and important solo debut in years to come.
✹♦✹  Additional Note: The album features Beatrice Dillon on acetone drums on ‘To The End’, Gard Nilssen on cymbals and glass samples recorded and provided by Nicolas Becker on ‘The Critical Rush’. Organ extract on ‘For J.R.’ (Erbarm dich mein, o Herre Gott) is composed by J.S. Bach and performed by Kit Downes, drain pipe is performed by Koichi Makigami.