All instrumental, as its title suggests, exploring that particularly Lanoisian zone in which steel guitar and ambient electronics become indistinguishable. Equally a descendant of the desert dream landscapes of "Belladonna" and the seminal starfields of Lanois' contributions to Eno's "Apollo".
Favorite track: Satie.
Good to be reminded just what a wonderful pedal steel player Lanois is...with such a rich palette of expression...these pieces have an expansive and haunting internal landscape, I think.
All compositions by Daniel Lanois and Rocco Deluca except Deconstruction by Daniel Lanois
Produced By Daniel Lanois and Ryan Worrall
Recorded and Arranged By Dangerous Wayne Lorenz
Edited and Mastered By Adam Samuels
Daniel Lanois Songs (ASCAP) administered by Penny Farthing Music (ASCAP) c/o The Bicycle Music Company
Rocco Deluca - Aunt Dolly Music (BMI)
Artwork and Photography By Marthe Amanda Vannebo
Cover photo By Daniel Lanois
Margaret Marissen, Keisha Kalfin, David Gray, Eddie, Adam Vollick, Marc Pizer, Jordan Bromley, Mike Merriman, Lindsey Vaerst, Pavel Maslowiec, Ian Galloway, Kyle Crane, Sam Barsh, Odessa Jorgensen, Brian Patti, Andy Kaulkin, Trevor Hernandez and ANTI Records.
Acme Paint Co.: Bob Lanois and Paul Vasilak
Project Coordination: Seth Loeser
Some time back in the presence of Ryan Worrall (my co-producer) and Dangerous Wayne Lorenz (my long time friend, master recordist and music arranger) I decided that it was time to make a steel guitar record. My mates agreed and off we went.
Into the open hearth, we prayed to the gods of steel. Ingots flared down into the blast furnace. We went to the valley below and as we looked, we saw the mountaintop. Lo and behold, our first title Deconstruction was born. The symphonic power appealed to all of us.
Touring began, and I joined my good friend and cohort Rocco Deluca. We traveled to Spain, Istanbul and Ireland. He on low strung lap steel and me on my old friend the Sho-Bud. The harmonics collided and we became one. Back in the studio, Rocco gifted me with a substantial rock to stand on. I was now free to explore high melody lines as Rocco provided earth tones reminiscent of my early days at the altar.
In London, Eno introduced me to a new gadget, a sweet little sampler that I bolted onto my steel guitar, my new secret weapon. Symphonies were our friend and our excursions took us to the unknown. We saw places that had never been, newborns wandering in old skins. We heard the sound of Les Voies Bulgare, saw Himalayan Mountains, Satie was there. The ghosts of Stravinsky and Wagner waved their batons, we never looked back, we played on. They pushed and chanted till we said no more. The taunting never stopped till we knew and forgot. All that we had learnt fell by the wayside and there we were, pure and simple left with life experience at our fingertips.
The music of our slide guitars with a little help from studio explosions holds in it (I hope) what I love about art, its capacity to pull an emotion from a listener.
The steel city never left me and my first love is still with me. My steel guitar, my little church in a suitcase.
Thank you Rocco, Ryan and Wayne.
Please enjoy and do know that we try and stand outside of ourselves as the offerings get passed onto your ears.
supported by 33 fans who also own “Goodbye To Language”
I first listened to the full project in one sitting late one night, and it was one of the most moving experiences I've ever had with music. I haven't re-listened in full as of yet, but I keep returning to this album and find myself humming along to the tunes over and over. Take care, Caretaker. Ford
supported by 25 fans who also own “Goodbye To Language”
An absolute masterpiece. Beautifully broken and shatters right through into my heart. Brilliant in so many ways, and after listening to it regularly since its release I have to say it certainly ranks up as one of my favorite albums of all time. Candle Nine