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<\/a><\/figure>\n<\/div>\nJAMES MURRAY \u2013 WEEDS<\/a><\/em><\/strong><\/h3>\nThe Quiet Details<\/a><\/em> label started off in 2023 (at least that is where the catalog numbers began \u2013 they were preceded by a digital release by Fields We Found <\/em>in 2022), but is now rapidly becoming one of the most active labels in the ambient music field. \u2018Ambient\u2019<\/em> may not be the right label exactly: the label describes itself as a place <\/em>for \u2018each artist\u2019s own unique interpretation of that phrase\u2019<\/em> (\u2018quiet details\u2019, that is).
James Murray<\/a><\/em><\/strong> is no stranger to the label: in March this year, Slow Reels<\/em> (his collaboration project with Ian Hawgood)<\/em> released Everyday Exotic<\/em><\/a> on the label. Weeds<\/em><\/strong> is Murray<\/em><\/strong>\u2018s <\/em>latest solo album. <\/p>\nIf you know the work of James Murray<\/em><\/strong> (and I think you should), you probably also know what to expect. Murray<\/em><\/strong> is a master in subtle music, full of quiet details<\/em> indeed, presented in an immaculate production. However, according to Murray<\/em><\/strong>, the music on this album is somewhat \u2018less sculpted and less formal\u2019<\/em> than that on its \u2018sister album\u2019 Soundflowers <\/em>(2023): \u201cI\u2019ve dialed back some of the intentionality and let generative methods take more of the lead compositionally and in terms of textural, granular detail\u201d<\/em>.
Each track is celebrated a different weed \u2013 \u2018the understated, overlooked, so-called inconvenient or arbitrarily maligned\u2019<\/em>. It\u2019s a different way of looking at plants that are mostly unwanted but have their own beauty<\/p>\n\u201cJames has a way of creating ambient music that is engaging and demands close listening, and at the same time meditative and powerfully hypnotic\u201d<\/em>.<\/p>\nWeeds<\/em><\/strong> is available as a digital download as well as on CD. The latter also includes a fine art print of the label artwork \u00e1nd a special long-form edition of the (38-minute) album, which can be downloaded after purchase (just ask the label).<\/p>\n
James Murray<\/a><\/em><\/strong> is no stranger to the label: in March this year, Slow Reels<\/em> (his collaboration project with Ian Hawgood)<\/em> released Everyday Exotic<\/em><\/a> on the label. Weeds<\/em><\/strong> is Murray<\/em><\/strong>\u2018s <\/em>latest solo album. <\/p>\n
If you know the work of James Murray<\/em><\/strong> (and I think you should), you probably also know what to expect. Murray<\/em><\/strong> is a master in subtle music, full of quiet details<\/em> indeed, presented in an immaculate production. However, according to Murray<\/em><\/strong>, the music on this album is somewhat \u2018less sculpted and less formal\u2019<\/em> than that on its \u2018sister album\u2019 Soundflowers <\/em>(2023): \u201cI\u2019ve dialed back some of the intentionality and let generative methods take more of the lead compositionally and in terms of textural, granular detail\u201d<\/em>. \u201cJames has a way of creating ambient music that is engaging and demands close listening, and at the same time meditative and powerfully hypnotic\u201d<\/em>.<\/p>\n Weeds<\/em><\/strong> is available as a digital download as well as on CD. The latter also includes a fine art print of the label artwork \u00e1nd a special long-form edition of the (38-minute) album, which can be downloaded after purchase (just ask the label).<\/p>\n
Each track is celebrated a different weed \u2013 \u2018the understated, overlooked, so-called inconvenient or arbitrarily maligned\u2019<\/em>. It\u2019s a different way of looking at plants that are mostly unwanted but have their own beauty<\/p>\n