Bounds follows Craven Faults’ second full - length album Standers . Following loosely in the footsteps of 2020’s Enclosures release, here’s another 37 - minute journey through Northern England via a lifetime obsessing at the fringes of popular culture. New details and perspectives. Dusk gathering.
There’s some discussion over where this journey begins. Certainly, less than twenty miles north - west of the city, but possibly much closer. Ironic given we’re searching for a distance marker. A gritstone pillar is the prime candidate - destroyed by lightning almost 200 years ago, and then rebuilt a quarter of a mile away. A curiosity. Many a journey starts here these days, as we take flight and head further north and west. The tarn was drained in 1940 to protect critical infrastructure. We leave the sounds of heavy industr y behind us to float weightlessly over the moors.
We pick up pace and hit those levels of repetition engineered to the highest standards in Düsseldorf and Köln, 1971. A gift to the world. At this point the altitude is no longer clear; there’s no sense of scale. We could be a matter of inches from the ground, but the patterns are the same. Eventually we arrive at a hillside with no defined boundaries. The limestone pavement is visible in pa rts, and snaps us into focus once again.
It’s a little way east for our next stop, very close to where the journey began on Standers. Documents from 1651 suggest an arbitrary drawing of boundaries, the distribution of power and wealth set down in pen and ink and then passed down through generations. We beat a path around the per imeter. The divides still exist although the crab apple tree is long gone. Melodies give way to bent notes and dissonance.
We take a circuitous trip to Hamburg and Rome for filming between February 11 and April 23, 1972. A slower pace. Less structure, but emotive, evolving. The master touch, indeed. One final job before retiring and living off the land for the next 373 years.
There’s some discussion over where this journey begins. Certainly, less than twenty miles north - west of the city, but possibly much closer. Ironic given we’re searching for a distance marker. A gritstone pillar is the prime candidate - destroyed by lightning almost 200 years ago, and then rebuilt a quarter of a mile away. A curiosity. Many a journey starts here these days, as we take flight and head further north and west. The tarn was drained in 1940 to protect critical infrastructure. We leave the sounds of heavy industr y behind us to float weightlessly over the moors.
We pick up pace and hit those levels of repetition engineered to the highest standards in Düsseldorf and Köln, 1971. A gift to the world. At this point the altitude is no longer clear; there’s no sense of scale. We could be a matter of inches from the ground, but the patterns are the same. Eventually we arrive at a hillside with no defined boundaries. The limestone pavement is visible in pa rts, and snaps us into focus once again.
It’s a little way east for our next stop, very close to where the journey began on Standers. Documents from 1651 suggest an arbitrary drawing of boundaries, the distribution of power and wealth set down in pen and ink and then passed down through generations. We beat a path around the per imeter. The divides still exist although the crab apple tree is long gone. Melodies give way to bent notes and dissonance.
We take a circuitous trip to Hamburg and Rome for filming between February 11 and April 23, 1972. A slower pace. Less structure, but emotive, evolving. The master touch, indeed. One final job before retiring and living off the land for the next 373 years.
STAFF COMMENTS
Barry says: The master of atmospheric analogue synth meanderings returns for another beautifully balanced odyssey. An epic, endlessly rich soundscape.TRACK LISTING
A1. Long Stoop (4:05)
A2. Groups Hollows (9:06)
A3. Lampes Mosse (5:42)
B4. Waste & Demesne (18:10)