Echoes of Locating a Cool Red
Aaaaaah, Andrew Bird- ‘Birdo’ as I call him, or ‘Birdman’, or ‘Big Bird’, or ‘Slammin’ Andy’ if I’m not into the whole ‘feathery’ thing: we’re good friends- has been a repeat offender of past Necessary Evils. I occasionally forget about him for a few albums, but then discover his latest release and discover him still producing music of such consistent quality that I curse myself for ever letting him slip from my consideration. He’s like that cool uncle whose infreuent visits you always enjoy and, while he’s scoring you premium grade memthaphetamine and letting you rifle through his collection of vintage mid 1980s porno mags, you wonder why your parents never think of inviting him round more often
‘River’ is the second of his ‘Echolocations’ records and the first I’d been made aw
been made aware of. The ‘Echolocations’ records are instrumental albums where The Birdmeister removes himself vocally from the process (meaning we lose a voice that, if we’re being honest, was never one of the main selling points of his music) and focuses on his incredible work with violins. I mean, there isn’t even any whistling on this album, which for a long time Birdometer fan is like playing the latest Lana Del Ray album and her never once either putting on or taking off a red dress. Each record’s name also points to the nature (geddit?) of field music that the collection is recorded under. The locations of the echoes you might be able to pick up: are you following? The first such collection was called ‘Echolocations: Canyon’, which was chiefly recorded in- get this- a canyon, and now ‘Echolocations: River’, recorded in an underpass next to the Los Angeles River.