For many, the Fens are something of an acquired taste. Expansive, sometimes desolate landscapes that are surprisingly easy to get lost in. The sense of large-scale ecological degradation is never far from the surface. They’re the relics of one of the UK’s most catastrophic changes in land use, as one of Europe’s most extensive wetlands was systematically drained, causing massive loss of wildlife and soil erosion in the process. The sight of limitless beet fields stretching to the horizon can definitely get a little depressing in the depths of winter.
Yet having lived there myself for a few years, I came to love the huge open skies and the sense of freedom. Happily, it is this kind of positive take on the Fens that is reflected in this album. Listening to it, I was reminded of a month I once spent walking ancient footpaths through the area, which I found hugely restorative. So this is not a dark or brooding album, but rather a personal and even intimate portrayal that communicates clear affection for the area.
Glåsbird is the project of Harry Towell, the founder of Whitelabrecs, which over the past ten years has become firmly established as one of the most important ambient labels in the UK. Recent releases under this moniker have included sonic explorations of Greenland, Antarctica and Siberia, but this time the focus is much more quotidian. Indeed, the six tracks on offer here were inspired by the six fens nearest to his Lincolnshire home. Each of the tracks is comprised of similar elements, including swirling synth pads, loopy strings, subterranean piano, fragmented woodwind figures and occasional found sounds. Overall the tone is surprisingly light, displaying a delicate touch throughout. This is perhaps best Illustrated by very restrained use of field recordings, which provides a sporadic counterpoint to the musical elements. Overall the approach is highly melodic, with rolling waves of sound rising and ebbing, with effective use of loops and delays. Yet the music is never static; careful use of dynamics and evolving orchestration move it forward with relentless momentum. This sense of gently paced forward motion is very reminiscent of the experience of walking through a landscape.
Another feature of the Fens is their remarkable flatness. As the geographical equivalent of minimalism, any slight topographic feature has an impact out of all proportion to its size. Consequently, one might have expected this album to be musically rather sparse, but the opposite is true. Each of the pieces is richly textured and multi-layered, with great attention to detail throughout. The result is a really absorbing listen that repays multiple listenings. I get a sense that these compositions mark a significant moment in Harry’s musical career; they certainly represent a significant development from his earlier work, and communicate a high level of confidence in the means of his expression. Having released a long series of albums on CDs that look like vinyl, this is the first Whitelabrecs that is available on actual vinyl, which is a kind of statement by itself. Both label and artist continue to evolve, and I very much look forward to future developments.