why we love this
Like taking a deliberate pause mid-walk to admire something mundane yet profoundly beautiful: a murmuring stream, a solitary bird perched on a fence post, a patch of sunlight illuminating a small cluster of wildflowers.
about the record
Patience is the debut full-length album by Sante Fe-based artist Theodore Cale Schafer. Alternately murky and narcoleptic and bristling with grit and light, this collection of eight pieces is a delicate play of contrasts. Impressionistic settings unfurl with an unhurried gait, opening with the dreamlike disorientation of "Gold Chain" in which a degraded location recording gives way to a soft web of treated piano motifs. Schafer’s compositions are sumptuous yet unfussy, recalling perhaps the concise, vignette-oriented tape works of Andrew Chalk, which seem to prioritize spontaneity and ephemerality over preciousness and decorum. This approach yields substantive results, as on "It's Late", which marries a dolorous, clanging guitar sketch to the sound of change jostling in the pocket of a walker and the laughter of friends or passersby. This is diaristic music—rough-hewn, confessional, and teeming with possibility.
- 1 - Gold Chain 4:10
- 2 - Hunter 3:30
- 3 - No Piano 9:04
- 4 - Crowd 4:08
- 5 - It's Late 5:07
- 6 - Blue Fleece 3:25
- 7 - IWYWCB 2:59
- 8 - Hinoki 2:35
€25,00
in stock
- 1 - Gold Chain 4:10
- 2 - Hunter 3:30
- 3 - No Piano 9:04
- 4 - Crowd 4:08
- 5 - It's Late 5:07
- 6 - Blue Fleece 3:25
- 7 - IWYWCB 2:59
- 8 - Hinoki 2:35
why we love this
Like taking a deliberate pause mid-walk to admire something mundane yet profoundly beautiful: a murmuring stream, a solitary bird perched on a fence post, a patch of sunlight illuminating a small cluster of wildflowers.
about the record
Patience is the debut full-length album by Sante Fe-based artist Theodore Cale Schafer. Alternately murky and narcoleptic and bristling with grit and light, this collection of eight pieces is a delicate play of contrasts. Impressionistic settings unfurl with an unhurried gait, opening with the dreamlike disorientation of "Gold Chain" in which a degraded location recording gives way to a soft web of treated piano motifs. Schafer’s compositions are sumptuous yet unfussy, recalling perhaps the concise, vignette-oriented tape works of Andrew Chalk, which seem to prioritize spontaneity and ephemerality over preciousness and decorum. This approach yields substantive results, as on "It's Late", which marries a dolorous, clanging guitar sketch to the sound of change jostling in the pocket of a walker and the laughter of friends or passersby. This is diaristic music—rough-hewn, confessional, and teeming with possibility.
