{"product_id":"john-haycock-what-remains","title":"JOHN HAYCOCK - What Remains","description":"\u003cp data-start=\"0\" data-end=\"191\"\u003e\u003cem data-start=\"0\" data-end=\"14\"\u003eWhat Remains\u003c\/em\u003e is the new album from \u003cstrong data-start=\"37\" data-end=\"53\"\u003eJohn Haycock\u003c\/strong\u003e featuring Daniel Bridgwood Hill and produced by resonance founders Matthew Williams and Adam Kahan, mastered in Berlin by Arnold Kasar.\u003c\/p\u003e\n\u003cp data-start=\"193\" data-end=\"397\"\u003eIt’s a long way from its West African origins, but John Haycock’s relationship with the 24 stringed kora began by hearing it on Market Street, Manchester city centre’s bustling, chaotic heaven and hell. “You couldn’t miss it bouncing across the buildings. It had a Pied Piper effect. It drew people in, creating this bubble of tranquillity and somehow separating you from the consumerist chaos of the city centre.”\u003c\/p\u003e\n\u003cp data-start=\"614\" data-end=\"987\"\u003eThe busker, if we can rather reductively call him that, crafting this compelling quietude was Gambian griot and kora master Jali Nyonkoling Kuyateh, playing a near 100 year-old instrument handed down through his family. Transfixed, John struck up a conversation and persuaded an initially sceptical Jali that this late teen was serious in wanting to learn the instrument.\u003c\/p\u003e\n\u003cp data-start=\"989\" data-end=\"1133\"\u003eJohn immersed himself in the doubled bridged harp\/lute hybrid. Jali’s mesmeric Mancunian street corner masterclass made him see its potential. During 15 years of practice, he dreamed of combining the instrument with electronic and woodwind elements. Informed also by kora masters like \u003cstrong\u003eToumani Diabaté\u003c\/strong\u003e and \u003cstrong\u003eBallaké Sissoko\u003c\/strong\u003e (“they're just on another level”) he has integrated the sound into his own hybrid ambient, minimalist and spiritual jazz fusion.\u003c\/p\u003e\n\u003cp data-start=\"1445\" data-end=\"1791\"\u003e“I’m influenced by people outside of the West African tradition of the instrument too. \u003cstrong\u003eTony Scott\u003c\/strong\u003e, \u003cstrong\u003eWacław Zimpel\u003c\/strong\u003e, \u003cstrong\u003eAlice Coltrane\u003c\/strong\u003e, \u003cstrong\u003eAlabaster DePlume\u003c\/strong\u003e, \u003cstrong\u003eNico Georis\u003c\/strong\u003e, people working with tone, repetition, and a kind of meditative quality. Also \u003cstrong\u003eDomenique Dumont\u003c\/strong\u003e. \u003cstrong\u003eNils Frahm’s\u003c\/strong\u003e approach is entirely different but has had an equally great impact on me.”\u003c\/p\u003e\n\u003cp data-start=\"1793\" data-end=\"2304\"\u003eIt’s a contemplative and ethereal sound with added dub-inflections which is enhanced in live performance, where the mix is always fresh and fluid. There are no computers involved and any emerging sequences are either hand played or are effects generated analog loops. There’s a feeling of the ancient and mysterious Popol Vuh of \u003cem data-start=\"2122\" data-end=\"2145\"\u003eIn Den Garten Pharaos\u003c\/em\u003e. Perhaps Tangerine Dream at their most serene, but an otherworldliness emerges from the combination of light, sound and setting which has its own dimension. \u003cem data-start=\"2306\" data-end=\"2320\"\u003eWhat Remains\u003c\/em\u003e features \u003cstrong\u003eDaniel Bridgwood Hill\u003c\/strong\u003e and was produced by resonance founders \u003cstrong\u003eMatthew Williams\u003c\/strong\u003e and \u003cstrong\u003eAdam Kahan\u003c\/strong\u003e.\u003c\/p\u003e","brand":"resonance recordings","offers":[{"title":"180g Black Vinyl LP","offer_id":57901183992153,"sku":"SDZ-44893","price":37.99,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/2c3fdcb4235779b77f33a3c2d2629a78.jpg?v=1776939203","url":"https:\/\/spindizzyrecords.com\/products\/john-haycock-what-remains","provider":"Spindizzy Dublin","version":"1.0","type":"link"}