You'll Never Get To Heaven
Wave Your Moonlight Hat for the Snowfall Train

26,00

out of stock

about the record

You’ll Never Get To Heaven (Alice Hansen and Chuck Blazevic aka Slow Attack Ensemble) returns with their fourth release 'Wave Your Moonlight Hat for the Snowfall Train', a collection of ethereal songs that move through the mercurial weather patterns of minimalism and dream pop. The duo named this album after the closing track on Phil Yost’s 1967 release Bent City, inspired by its prescient use of delay processing in elevating spare beatless arrangements into haunting arrays of sonic afterimages — an approach Hansen and Blazevic explore on this outing in their own way, with a few favoured instruments and a Chorus Echo and Revox in hand. The result is a collection of sparse, lightly dub-infused songs and instrumentals, equally icy and wistful, characterized by melodic fretless basslines, spaced-out harmonics, watery piano and marimba, hushed vocals, and tape echo treatments.

  1. 1 - Setting Sun 2:59
  2. 2 - Pink and Gold and Blue 2:56
  3. 3 - Dust 2:36
  4. 4 - Pattern Waves 3:30
  5. 5 - Eye, Soul and Hand 3:18
  6. 6 - Mad Shadows 2:33
  7. 7 - Eternal Present 2:59
  8. 8 - Predawn Visions 2:28

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You'll Never Get To Heaven
Wave Your Moonlight Hat for the Snowfall Train

26,00

out of stock

  1. 1 - Setting Sun 2:59
  2. 2 - Pink and Gold and Blue 2:56
  3. 3 - Dust 2:36
  4. 4 - Pattern Waves 3:30
  5. 5 - Eye, Soul and Hand 3:18
  6. 6 - Mad Shadows 2:33
  7. 7 - Eternal Present 2:59
  8. 8 - Predawn Visions 2:28

Embed

Copy and paste this code to your site to embed.

about the record

You’ll Never Get To Heaven (Alice Hansen and Chuck Blazevic aka Slow Attack Ensemble) returns with their fourth release 'Wave Your Moonlight Hat for the Snowfall Train', a collection of ethereal songs that move through the mercurial weather patterns of minimalism and dream pop. The duo named this album after the closing track on Phil Yost’s 1967 release Bent City, inspired by its prescient use of delay processing in elevating spare beatless arrangements into haunting arrays of sonic afterimages — an approach Hansen and Blazevic explore on this outing in their own way, with a few favoured instruments and a Chorus Echo and Revox in hand. The result is a collection of sparse, lightly dub-infused songs and instrumentals, equally icy and wistful, characterized by melodic fretless basslines, spaced-out harmonics, watery piano and marimba, hushed vocals, and tape echo treatments.

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