Piano Reverb, by Jasmine Wood

Piano Reverb

by Jasmine Wood

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Chad Felix Gets into that peak Stars of the Lid space Favorite track: V (It's Haunted I Can Feel It).

Leon Frey How Jasmine Wood manages to fit a collapsing star inside a piano is, truly, beyond my understanding.

seven seven zero this is truly a sublime album. capturing and re composing the sustain from a piano is pure genius. its harnessing the energy of sound just as it dissipates into silence.

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1.	I 01:25	buy track
2.	II 06:52	buy track
3.	III 03:47	buy track
4.	IV 02:00	buy track
5.	V (It's Haunted I Can Feel It) 04:46	buy track
6.	VI (Friends) 05:02	buy track
7.	VII 06:36	buy track
8.	VIII (Tremolo) 04:07	buy track

about

When I first moved to Ireland I was unexpectedly met by thousands of vacant churches. Massive halls formed a hollow emptiness which persisted for several months that eventually turned into years. This record was made in one of those churches on an antique, Blüthner grand piano. I worked and recorded on this piano most days, for an entire year. While working on compositions within the modern-classical realm, I fell in love with the fullness of the reverb that each note echoed throughout the room. I eventually shifted my focus entirely and decided to record just the reverb sustained on the end of each note. I did this with a variation of chords and single notes, capturing only the sustain. All of the tracks on this album were made using these recordings.

The piano is over 100 years old. The age of its parts contribute additional elements which reflect their use and time. Its sustain offered a unique, imperfect timbre with an action occasionally finishing in a deep, low rattle. Sometimes this would cause problems while recording other works. Instead of removing this additional noise from all of my previous recordings, deeming them imperfect, I borrowed them all for this concept. I increased the length of each sustain, even some of the rattling, and wove them together like an orchestra. Very little has been done to change or manipulate the analog notes you hear on the recordings. My goal is to capture this piano exactly as it was in the space and time it was played in. Some notes are mildly stretched or pitch shifted, but most are not. These minor changes to some of the notes revealed a character within them delivering expressions that are unmistakably human to the ear. It was discovered through these sessions that the unexpected sounds mentioned - which occasionally pronounce themselves as an animalistic growl - exist. The piano is capable of producing them. Upon allowing many of the notes to sit primarily as their analog form, paired with some minuscule pitch and time alterations, it is evident that these “new” sounds are not manufactured by effects but simply revealed, or conjured during the process of this arrangement.

credits

released March 8, 2024

Composed, produced and engineered by Jasmine Wood
Mastered by Noel Summerville
Recorded between 2020 & 2021 at St. Finian's Church in Dublin, Ireland on an antique, Blüthner grand piano

Additional instruments:
Yamaha Reface CP (“Friends”)
Tin whistle - Seán Power, recorded in Galway, Ireland (Track “IV”)
Field recordings taken near St. Stephen’s Green, Dublin
Church Bells - Christ Church Cathedral, Dublin
Photograph by Cáit Fahey
Tape design by Pavel Milyakov
Art direction by Jasmine Wood

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Jasmine Wood Dublin, Ireland

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