Howl
Foremost a guitarist, growing up listening to rock rather than club music, West continues to strive towards finding a more personal balance between music for home listening and larger spaces. The title track was inspired by the howl-like tones he developed by running synths through guitar pedals. "By slowly drifting the pitch through distortion and delays, the result sounded like vocal cries – something which was perfect for the song and this inspired me to take on a darker set of tones across the whole album. It was made over the past few years, inspired by capturing small performances on synths, touring with some of my musical heroes, playing with feedback when I should have been catching a train, sampling my voice in unexpected conditions and recording textures in different countries.” The album explores a wide range of emotions; from the dissonance eruptions and primal rhythms in 'Howl', to the mournful improvisations of '3 Laments', which features a sample of his own voice. Alongside his performances on Moog, Prophet, tape delay and guitar, West enlisted the help of drummer Fabian Prynn for ‘Low’ and cellist Peter Gregson for ‘Walls’, both long-time collaborators of Erased Tapes peers Douglas Dare and Michael Price
Reams of electronic producers luxuriate in the safety of creating a comfortable atmosphere. But Howl, the third LP from the producer Ryan Lee West*,* is impossible to ignore and hard to forget.
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There’s little to imply angst or anguish in Rival Consoles' cerebral, ambidextrous electronica: instead, Howl is a controlled slab of dark and light.
Howl is an album named after the moaning synthesizer on its title track, and as Rival Consoles, a.k.a. Ryan Lee West, puts it himself: "It's...
Rival Consoles - Howl review: Howl comes from nowhere and goes someplace similar