The new album ‘Eaten Alive’ will be released on Facture on the 25th October. It will be a hand-made CD limited to 200 copies. If you want to secure a copy you will most likely need to sign up to the Facture mailing list as they wont last long:
Got a mention in Artrocker as they reviewed the recent London edition of the Denovali Swingfest:
“UK Denovali act Talvihorros before were a master class on how to fill vast, epic space with playing that showed attention to detail and how to build tension. A few of the audience were in foetal position for an opening of twangy langour (roughly, Godspeed soundtracking Paris, Texas). But the duo went from tropes to mastery, as cymbal descriptive of an incoming tide, ominous kick drum and jarring electronics gradually ramped up a 45 minute soundscape (?) to a galloping kraut drumming finale. Force of nature and excellent.”
I recently contributed new music to this Calvin Klein Fashion Film. There are four new pieces of music along with a version of ‘Alpha’ from ‘Descent Into Delta’ mixed alongside music from Olafur Arnalds and Jacaszek in this 10 minute short film:
and for those of you with busy lives who dont have time to sit through all 10 mins – here is a handy 30 second cutdown:
Starting to book up some live dates for next year, expect more to be added soon -
10.02.13 – The Banshee Labyrinth, Edinburgh with Memory Drawings
20.03.13 – Cafe Oto, London with Loscil and Pye Corner Audio
21.03.13 – The Glad Cafe, Glasgow with Loscil
29.03.13 – Summerhall, Edinburgh with Umberto
21.04.13 – Denovali Swingfest at The Scala, Kings Cross with William Basinski, Thomas Koner, Greg Haines, Carlos Cipa and more….
‘And It Was So’ gets album of the month at Textura where they say some very nice things about the record – it can be read in full HERE.
“There are moments when a comparison to someone like Tim Hecker makes sense, the difference being that Chatwin’s sense of compositional form is more fully and satisfyingly developed than Hecker’s. In truth, it ultimately makes more sense to treat Talvihorros music on its own terms, rather than try to fabricate connections between Chatwin’s sound and someone else’s. Put simply, he moves to another level on this recording: while a fabulous guitarist and sound designer, he’s also an incredible composer with a signature way of shaping and arranging sounds into stunning instrumental set-pieces.”
The first review for my forthcoming album has been posted at the ever brilliant Fluid Radio, see below:
Phantoms on the strings. Phantoms in the music… Talvihorros, the alias of London musician Ben Chatwin, explores the dark coves of experimental and electronic music that, when listened to, unleashes haunting atmospheres on dense, expansive winds. Not even the eternal black of space can contain music as liberated as this. Talvihorros creates music for the cosmos, and the deep mystery at its heart.Out of reach. Out of exposure.‘And It Was So’ orbits around a dark sun of faint light, and due to the mystique rippling out of the music, we are never completely sure whether the expanding universe carries a parasitic entity on the bow touching the strings, bringing with it a new kind of black plague before the planets fulfil their destiny, or if it is just a passing storm amid the chaos of coalescing rock. Fate will decide. The extroverted freedom doesn’t appear unhealthy, as the strings collide with experimental soundscapes to create astonishing music, most of which is filtered down through the guitar (while highlighting the instrument’s amazing tonal possibilities and degrees). Vintage and home-made electronics are looped in a constant cycle, sharing an orbit with electric and acoustic guitars (although each instrument is a ghost of itself, almost indistinguishable to the conscious mind). Forever delayed, cascades of reverb create dense, lush atmospheres that are just as dark as they are alluring. Percussion pierces the space with a discovered, rhythmic life form, adding an extra vitality and an exciting dynamic element. It isn’t just a new world of sound that opens up when all of these elements are combined – it’s a spectral universe of colour and sound that hits like a tsunami.Punctuated by a dirty, gritted static, the light distorted fuzz holds an increasingly disturbing air of menace, like nightmares drenched in cold sweat. A pinpoint of light becomes symbolic, helping us to snake our way through these immense compositions. Vanishing into a recently discovered black hole, guitars are sucked into an invisible void of turbulence. Deep in the vibrating streams, drums kick in, rocking against the atmospheric flow like abrasive asteroids, while also smoothing the soundscape out with the determined purpose of rhythm. It seems to give the record a nice contour between abstract electronics, and the very real, physical sound of natural percussion. Although it never disappears, the caustic grit of distortion is eventually eroded and dissolved.‘Let There Be Light’ tears through like a pregnant universe giving birth to a young, galactic arm; a bigger bang sending discarded pieces of guitar noise in all directions, for them later to support life. A beacon shines a recurring, fiery light, circled by pitch black; it’s the first taste of a loop. Traces of rhythm enter underneath a drone, created in the eye of the explosion, and as that leisurely rhythm passes by, the strings lend their darker touch; it isn’t so much an introduction as it is a mini-EP.And it was so.‘In The Midst Of The Waters’ fits the notion of new life perfectly, with the element of water as life-creator, in an aquatic ocean free of ice. Loops are not immediately obvious on this tropical world. Trailing waterfalls can be imagined, aquatic scenes filled with the echoes of dolphins and killer whales. It’s easy to submerse ourselves, diving in for a tropical swim and maybe even meeting Shamu along the way. Sonar reveals introverted calls of the deep that dive in and out, undulating in pitch and decreasing slightly as they fall; the music is excitingly eerie. As the light sparkles off the lagoon, Talvihorros has already revealed a school of sound teeming with dark, sleek colours and sharp, unsatiated teeth.‘Swarms of Living Souls’ may lull us half-asleep, but this half-in, half-out comatose state is the point at which our instincts flicker off, and we are open to attack. And this is exactly the scenario we find ourselves in. A twinkle twinkle melody floats above a new born galaxy like a mobile over a crib, but any youthful innocence is soon just a shattered illusion, as a sonic supernova of full-on, engulfing static showers comets of deep bass, drifting over the melody like rain. Synths shoot past a scorching orb of white light, left, right and central, like trailing lasers. Another phantom uncloaks itself nearer the end, in the shape of a deep, faint drum; a heartbeat caged inside the chest. Talvihorros’ myriad use of percussion and timbre is fascinating to see, almost entering a tribal zone at one point, and at another as deep in electronica as the pitch black nightclubs of the early morning. The clearest melody is found on ‘Creeping Things’, where the recognisable currents of electric guitar slide and snake their way around the atmospheric cosmos.The frothing black in ‘Great Sea Monsters’ is just as gigantic in sound, as the creatures’ tentacles are seen reaching out from the deep, breaching the surface and splashing back in a smash of crashing cymbals, all underneath an immense, subaquatic drone. Rising and rising, a body of guitar-led melody glints off the water in refreshing, crystal notes. The whole track is spectacular; unfolding delicate, slippery arms that are free from demonization – a trend our species sticks upon fearful appearance. The sea level has dropped as it reaches the coda; the track has transformed, influenced by the brutality of what has now sunk underwater. The only remains are colossal bones, beached along a primeval shoreline of sand-covered skeletons.‘A Mist Went Up’ serenely flows along a calm river, but there is still a touch of rough distortion adding a heavy weight to the track. It never disappears. One has the feeling these 7 pieces of music only present a tiny fraction of Talvihorros’ musical spectrum, and although the music doesn’t so much scratch the surface as it does scar it for life, what stuns the most is the immensity which confronts us. Talvihorros returns again and again to the concept of musical alteration. This is a feature that becomes most apparent inside the longer tracks, as the music has both the space and the time to fully develop and cross over to the other side. And when it does develop, the music has the power to either further add creative elements or utterly destroy itself and this universe that Talvihorros has painstakingly sculpted. One could even make the point that creativity can be found in the process of destruction.Electronic elements corrode into the orchestral, and this is the continued fascination of the musical cycle; he seems to be focused on one extreme that eventually becomes a spectre of what it once was; a white, dying star that has lived a full life, only to now experience a rebirth in the scattering of energy through its explosion of death. ‘And It Was So’ hits like the full force of gravity; immense soundscapes of shock and awe, fear and amazement, forever soaked in black.