Richard Youngs: Amplifying Host
Amplifying Host finds Richard Youngs wandering the guitar desert somewhere between Ry Cooder's Paris, Texas score and Neil Young's work on Dead Man. Yet, the randomly determined chord movements and Youngs' stretched-out vocal passes across the record are, perhaps, more akin to Jandek's Six And Six — here, removed from its gauze and dipped in a dark gold. When Youngs bends strings in this anglo-americana vision, it's like he's bending spoons.
Richard Youngs: Beyond The Valley Of Ultrahits
"Make a proper pop album." Thus was the simple dare handed to Richard Youngs from his friend Andrew "Paz" Paine during their weekly Sunday meet-up. Ever the modest master, Youngs said in accepting this friendly challenge that he merely endeavored to capture the "beats and hooks" of contemporary pop. We present the results here as Beyond The Valley Of Ultrahits. Among bright, hypnotic loops, Youngs' voice finds its inner Bowie. But let it be known: this collection of house-inspired gems displays much more than a capacity for pop emulation. It's a confirmation of Youngs' craft and prowess, no matter the terrain. With enviable grace, experimental minimalist Youngs sets his sights on the pop world and claims it as his own. Youngs' heretofore unknown love of Pet Shop Boys and the Madchester sound is reimagined via his unique avant sensibility and atmospheric wand strokes. Originally released in 2009 as a very-limited CD-R on Paine's Sonic Oyster label, Jagjaguwar is honored to present Beyond the Valley of Ultrahits, remastered and on vinyl for the first time.
Richard Youngs: Under Stellar Stream
Richard Youngs' latest solo work for Jagjaguwar is a collection of neodruid hymns and chants for the minutiae of homelife and fatherhood — poetic transcendance through repetition and a focus on the (seemingly) micro. Once again proving himself a master of minimalist composition, Youngs also takes leaps forward as a lyricist on Under Stellar Stream, reminiscent of the list incantations of Allen Ginsberg. With this comes a change in Youngs' voice, now less pleading, deeper and more assured. In these atonal, spatial arrangements, each phrase is granted the room to work into the cerebral cortex — and perhaps a deeper consciousness. "I am remembering now the waiting on time itself. I am remembering now the value of sleep," recites Youngs' domesticated avatar on opening track "Broke Up By Night," a celtic prayer for the modern man. On "All Day Monday and Tuesday," over droning bass and slow, meandering organ, the grind of the day becomes empyreal: "All day Monday and Tuesday, the room of work, the room of work... All day Monday and Tuesday, the clarity, the clarity."
Simon Wickham-Smith & Richard Youngs: VEIL (for Greg)
Originally released in 1997 and having sat in storage unit purgatory (growing finer) for the greater part of a decade, Jagjaguwar proudly unearths and re-distributes this visceral British take on American outdoor spirituality.
"VEIL (For Greg) is a carousel ride inside a digital rock tumbler, a battle between gnomes and mercury termites for a maple tree's soul, and the reflection of a pile of Moog turtles in a bathroom mirror's swamp sweat. Throbbing Gristle reimagined as zen garden desk accessory." — William Gass
Richard Youngs: Autumn Response
Autumn Response is a spartan folk-"pop" record filled with tinder-box intimacies, composed of some of the shortest songs ever recorded by Richard Youngs. The simplest form of trickery comes from Richard Youngs' restrained use of an acoustic guitar, bringing it back to Youngs basics. Twenty-six seconds into "I Need the Light", the first track off the album, the listener is confronted with the pivotal element of the record, the drawing line between the hardcore Youngs purists and fairweather fans: the track, like others on the record, features Youngs' double-tracked voice splitting in two - as one overlaid performance veers away from the other. This gesture warrants such a title "King of the Progressive Minimalists" - which is often used beside his name by critics - as the confident inclusion of such an effect grants it legitimacy. Youngs' voices slipping away from one another is on par with other intense representations of singularity such as Donald Judd and Malevich's Suprematist Composition: White on White. Pop is a gesture, a stance, a pose. Autumn Response is a singer-songwriter album, as Youngs' fingers slip over the steel strings with little feet and whispery toes, his gently prophetic songs evoke Roger Waters and the folk phase play is sure to appeal to fans of Animal Collective's Sung Tongs.
Richard Youngs: Advent (reissue)
Originally released in 1990 in the vinyl format on Youngs' own No Fans label, this title has been reissued numerous times in the CD format (most recently by Jagjaguwar.) Jagjaguwar is now proud to reissue this very important work on viny as well. Advent became a true underground success story, a critical darling, with Alan Licht, for example, putting it on his "minimal top ten list" in the publication Halana. "It is a record by an intense young man," writes Richard Youngs, in an essay packaged with the record.
"A three-part composition for piano, voice, and ultra-nasty oboe and electric guitar, Advent indicated signs of life in a genre long dormant in the 80s 'experimental' scene. It continues the tradition from [Terry Riley's] Reed Streams on down with gusto."-Alan Licht's "Minimal Top Ten List", Halana
Richard Youngs: The Naive Shaman
Richard Youngs has been making music for over two decades. The Naive Shaman, released in dual format (cd and lp), is his seventh album for Jagjaguwar and is a deeply personal work. Created on a computer at home, it is a high density digital song cycle driven by heavy, heavy electric bass guitar.
The opening “Life On A Beam” combines a modal vocal line with throbbing sonics and non-linear percussion. Elsewhere a plaintive voice threads itself through frosted atmospherics and we hear Richard’s first recorded kazoo work since 1992’s “New Angloid Sound”. At the core of the album is “Sonor In My Soul”, a bass loop on to which are collaged strangulated guitar, singing and more singing. The track climaxes in a hollered plea for “unity”. The second half of the set contrasts “Once It Was Autumn”, a succintly crafted dub chant, with the epic “Summer’s Edge II” whose sprawling 16+ minutes anchor a floating vocal melody and free-flowing drums with fuzzed bass octaves.
Richard Youngs: River Through Howling Sky
If the “musical” real number line is infinitely dense, then the most recent work of Richard Youngs endeavors to fill in all of the holes on it. River Through Howling Sky is Youngs’ latest full-length. It returns to the more meditative and drone-y side of his songcraft (circa Sapphie (1998) and Making Paper (2001)), although this is no true devolution: all of his recordings to date have some measure of these qualities. So what is it that sets River Through Howling Sky apart from its predecessors? It is the density on the recording, both intraspatial and otherworldly. The howling guitar that points unerringly to some imagined horizon line. Throughout, Youngs is the calm and steady wolf, chanting odes to infinity. Expose the ancient Brotherhood of Pythagoras to River Through Howling Sky, and you would find knowing nods, pursed lips, and secret incantations in caves. An unwitting acceptance that not everything is rational or conceptually circumnavigable Our western tonal system relies on ratios, i.e. strings whacked at particular intervals. Young’s howling guitar and circular chants—with the help of a spartan amount of percussion and electronics— may just encompass all the possible ratios and, mystically, more.
Richard Youngs: Airs of the Ear
Richard Youngs' impressive body of work continues to mount. It resembles, unwittingly for sure, a slow zig zag march towards some Hegelian musical ideal in the distant horizon. Youngs, the leading wizard of droney and minimal psychedelic folk, has unleashed Airs of the Ear, his new opus invoking new magic looking for new ears to ensnare. Building on his esteemed recordings Advent (1990), Sapphie (1998), Making Paper (2001) and May (2002), Airs of the Ear goes beyond merely residing in what is the essential ecology of Richard Youngs — the spiritual nexus between the oft disparate realms of traditional folk and the avant-garde; it now embodies this ecology. Acoustic instruments coexist perfectly with electric ones, while neither class of instrumentation is ever trumped by the other contraptions on the record, namely ring modulation, the square wave or the theremin. Perfect balance is almost achieved. There is harmony, true emotional resonance, even on what is Youngs' most captivating work on the record, "Fire Horse Rising". Despite the ever-escalating nature of this song, where Youngs powerfully and repeatedly invokes "...and I don't understand, ...and I don't want to know...", the listener is never allowed to feel overwhelmed or be pushed out of that special meditative and trance-like space. The spell is never broken.English born and bred, but residing in Glasgow, Scotland (where Airs of the Ear was recorded), Richard Youngs has remained busy over the last two years. In addition to his recent Jagjaguwar offerings, Youngs has remained a very active collaborator (releasing albums with Makoto Kawabata of Acid Mothers Temple, Simon Wickham-Smith, Neil Campbell, Sunroof!, Vibracathedral Orchestra, as well as being featured on the latest Damon & Naomi live album Song to the Siren on the bonus DVD).