Sometimes people say the same things about a person because they’re true. For example, Bowie was always described as being mercurial. Why? Because he was. The word intensity always comes up when discussing the work of Daniel Day Lewis for the exact same reason. When it comes to explaining the sounds that come from Robin Guthrie’s guitar, critics and fans tend to immediately go to the term ethereal as a default descriptor of the Scottish-born musician. And ethereal isn’t far off the mark, because his playing is indeed perfect in a way that seems not of this world, but it also might be a lazy way of saying that he sounds like nobody else who’s picked up the guitar. But that might be a lazy way of saying that his sound is ethereal and heavenly and otherworldly. You see the problem. The fact is, Robin Guthrie is a master craftsman whose notes swirl and sting and float and churn. It’s magical playing and that’s all there is to it. Wether you’re a fan of the Cocteau Twins or his work with Harold Budd or his band Violet Indiana or his arresting solo albums, Guthrie is a staggering player. And he’s an intuitive producer, sitting behind the board for everyone from Felt to the Gun Club to Lush. His new album Pearldiving is a stone cold stunner and his new EPS
Riviera and Springtime are equally brilliant. Springtime is a rich and textured affair that rolls with a soothing majesty; the compositions are luxuriant soundscapes that summon the season with poetic finesses. This is a focused and honest chat that’s funny, moving and true. Enjoy.
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