As part of the newly designed Catalogue of Rakkoon Recordings, Huey Walker releases his album „Dreamsleaves“ in a finally remastered and conceptionally complete version. The album now contains an additional track and new photographic artwork.

Huey Walker – Dreamsleaves

Huey Walker - "Dreamsleaves" (Front Cover)

Huey Walker – „Dreamsleaves“ (Front Cover)

What was released in a small one-off edition as a 2-track-album in 2014, now finds its final, pure 3-track-beauty with additional photographic artwork.

The Songs on „Dreamsleaves“ — no one under 15 minutes — meander through fields of glitchy leftfield-electronica and blissfull, airy, ambient explorations.

A narrative impression fuses these three tracks into a journey of fluidity with gradual breachings and excavations of schemes and themes. The vague becomes  distinct and vice versa.

Blissfull, airy, ambient Explorations

Booklet-Preview - Huey Walker - Dreamsleaves

Booklet-Preview – Huey Walker – Dreamsleaves

Based on sine waves, fluttering scapes and modulated field recordings, it all starts with some airy drones and swooshing,  breathing Billows of Reverbs — marbled with long-held synth-chords and some teeming, melodic flocks.

During the first track „Puddles Watching Leaves Swim“, this bright and breathy flow ebbs over into a slow sort-of-glitch-hop-thing made of purling tones until the droning side of sound takes it over to the drowning side again — counterparted by some twirling vocalsample-lurchings.

The second Song „Reflected Dreams Of Blue Travels“ floats in timid, tonal vibrancies, travelling through sleepy-cloudy clusters in wide rooms of hall & echoes, spindrifting into mild-mannered hints of distortions, finally decaying in a quiet ease.

„Alterable Noons Of Loitering“ pushes the narrative structure of field recordings and layered drones into a wry indication of what might be a droll songwriter-song — with a harp and cheesy lyrics.

Pearly, manifold, floating structures

Huey Walker, Oct. 2013 (Photo: C. Köhn)

Huey Walker

The recordings on „Dreamsleaves“ were made on multiple occasions and dates. Yet, there is a strong sense of cohesion here. All tunes have similar, conceptional prefixes: layering various soundsources into pearly, manifold, floating structures. Tracks 1 and 2 were recorded in the heat of july 2014 at Hurley Wake in Greifswald, near the baltic sea. Bits of the first track (the ones with organs & guitar) were recorded in january 2013 live at Madame Claude, Berlin. „Alterable Noons Of Loitering“ was made during one week as a conceptional recording within the art project „Schaufensterschau“ in Greifswald, utilizing on-spot-recordings of rain, recorded lofi-nightime-memos on acoustic-guitar and speckled, dreamy synthesizer-tones.

„Dreamsleaves“ as CD & Download

The tracks-titles are taken from poems by Frank O’Hara. The Cover- and Inlay-Photography shows Images taken at Jardin Majorelle in Marrakesh. The CD-Edition of „Dreamsleaves“ comes in handmade Packaging on blue CDr with two Inlays in colour-printed sleeve with transparent-paper overlay. The included Download contains additional Photos in a 14-pages PDF-Booklet.

With this first and the upcoming releases, i am very happy to channel the things and processes of the past years finally into that sort of treatment and manifestation i always associated my creative doings with. For me, Rakkoon Recordings now adequately reflects the feel of cohesiveness and continuity i have in my own and the work of The Kanadagans. The archival meticulousness bumping in my foolish, droning heart now properly pairs with the wondrous, vivid, gravitational and psycho-acoustic qualities these elusive phenomenons called music, sounds and sonic goings-on represent for me – as a way of percepting the world and in terms of my musically actings.

„Dreamsleaves“ sort of mirrors this state of being in a mild-mannered, yet slightly sparkling way. It comes on blue CDr with Inserts and Download-Code. The according digital Release comes with a 14-pages PDF-booklet.

(Huey Walker)

You can get Dreamsleaves at bandcamp.