Tag: Karda Estra

Richard Wileman on the Forked Road

Fashionably late for the party, apologies, the fellow I’m not sure if he minds me calling “the Mike Oldfield of Swindon,” though it’s meant as a high compliment, Richard Wileman, released his fourth solo album, yesterday (Friday 12th Jan,) The Forked Road. I’ve been lost in its gorgeous blend of prog-rock experimentation and acoustic folk goodness for a while now, perhaps too much to get around to telling you about it!

It is more usual for Wileman to separate his two defining subgenres into composing under the pseudonym Karda Estra, for the experimentally ambient prog-rock, those lush Pink Flyodesque vibes of deep instrumental, and using his own name for the more acoustic folk moments. Yet since Led Zeppelin’s debut in 1969, the two have been married, and here, Richard combines them to great effect. Indeed, it is the former style which draws you deep undercover as a way of a dawning, The Last Book of English Magic is four minutes of lush and gentle instrumental introduction, easing you into this album, the most diverse I’ve heard of Richard’s, playing it out with a reprise, the First Book of….

He takes vocals on the second airbourne tune, Butterflies, a floaty beauty you’d know already if you had just bought our compilation album for Julia’s House, as it was contributed to that project. Wileman describes the album as a “prog-folk horror concept album, rooted in his home county and charting the encounter of a comet with Earth, resulting in the undead rising and converging on The Ridgeway, all bookended by the last and first books of English magic.” If author Philip Carr-Gomm transports us across England’s vast scholaric of occult arts and explores its history of magical lore and practice, Wileman captures this in music as wonderfully as Zeppelin did with the fictional magic of Tolkien; only this Shire is Wiltshire.

The title track again find us on the experimental instrumental path again, and it’s enchantingly cobblestone, teetering with whimsical harps, from Chantelle Smith, like sorcery evaporating into mist, only to be followed by the summit of this adventure, The Children of the Sun, a duet with Amy Fry, which is blissfully sublime; dreamy is the benchmark here.

Just like the Horses of the Gods album, We Wish You Health, if you’re not whisked into a timeless magical realm within the mystics of your own county by now, seek medical attention! Avenue & Circle is more harp and melodica driftiness, like wandering into the crystal shop in Avebury. Finally, the scene is set, and Richard brings back Amy Fry to vocalise the diegesis unfolding. Comet Vs the Earth is Wileman’s Forever Autumn, if Justin Hayward was Jeff Wayne’s scene setter in his musical version of War of the Worlds, and what can be more of a Wiltshire related comparison than that?!

Harpist Chantelle Smith duets with Richard on the next tune, Old Bones, delicately resurrecting, never does this venture into anything horrifically jumpy, rather flows gently throughout, even if things are becoming spooky in the next instrumental piece, Spectres of the Ridgeway, which in its very name suggests the narrative of the concept.   

Alongside guest vocalist, Amy Fry, who also adds saxophone, and harpist Chantelle, and his daughter Sienna, who captured sound recordings of Avebury, Richard’s multi-instrumental skills are at the forefront, taking on guitars, vocals, bass, keyboards, percussion bouzouki, Appalachian dulcimer, accordion, melodica, and finalises his projects with artwork.

We’re nine tracks into this storyline, concluding with a dramatic ambient piece. Wileman’s faint lamentation leaves you wondering if the Inevitable Beast is metaphoric and you’ve missed a reality within the plot, and it’s followed by the aforementioned reprise. Combined this album is awash with the timelessness of prog-rock concept albums, of Bowie, and The Who, yet dreamy as Pink Floyd, all this I expected, but in listening to the past two sections, of Richard’s acoustic solo work largely with Amy Fry, and the more experimental angle of   Karda Estra, I’ve longed for the two to embrace, and here it is, and it’s all rather lovely, wrapped in mystical narrative; top marks!

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Deadlight Dance New Single & Video

New single from our gothic duo Deadlight Dance, taken from March’s album Vox Populi…. Second tune on the album, a ballad to the poisonous evergreen…

Brian on FullTone Festival

Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra ahead…

Song of the Day 44: Sienna Wileman

Never assume a father posting their daughter’s song on the ol’ book of face is motivated purely by parental pride, and you’ll need to bite lip and humour them.

Learned this lesson once before, when a fellow cartoonist friend, Des, did so, and his daughter, Emma Langford was shortly after awarded the RTÉ Radio 1 Folk Award for Best Emerging Artist in 2018, shortlisted in the category of Best Folk Singer two years later, and was the first person to be awarded The Dolores O’Riordan Music Bursary Award by Limerick County Council!

Besides, this time around the Dad is Swindon’s renowned musican Richard Wileman of Karda Estra, so I expected sonething rather special, but this still knocked me for six.

Sienna Wileman’s accomplished and beautiful single “Petals,” released today is as a chip off the old block as Ziggy Marley is to Bob. Yet through her father’s trademark enchanted ambience there’s also a sense of youthful freshness about it, the accompanying video assists.

It is, in short, a little piece of wonderful, and you can buy/stream it here: https://www.amazon.co.uk/dp/B09QFPQ999/

Baber and Wileman set to Chill

Meditatively strap yourself into a comfy recliner, as under his pseudonym Karda Estra, Swindon’s prolific experimental virtuoso Richard Wileman is in collaboration with Sanguine Hum keyboardist Matt Baber for an album taking their names as the title, Baber-Wileman. It’s released tomorrow (Monday 10th Jan 2022) on Kavus Torabi’s Believers Roast label.….

Under his own name, Richard projects acoustic folk songs, yet never without fascinating instrument experimentation, yet as Karda Estra soundscapes of surreal gothic and cosmic compositions evoke mood as a film score should.

With a pungent fusion of Zappa and Canterbury influenced instrumental compositions, Sanguine Hum was formed a decade ago from the ashes of the Joff Winks Band and the Antique Seeking Nuns. Known for complex ensemble work, reflective song-writing and distinctively striving instrumental pieces, Sanguine Hum’s defining characteristics owes much to Matt’s keys, who released his first solo album, Suite for Piano and Electronics on Bad Elephant Music in 2018.

The pair first met at RoastFest in 2011, where Sanguine Hum were performing, and soon afterwards, Matt and Richard did their first collaboration track, Mondo Profondo 1, which appeared on the Karda Estra album Mondo Profondo.

Returning to the studio together towards the end of 2020, initially intending to put a couple of tracks down, the sessions went so well, they continued co-composing through 2021 and the project evolved into this album, which is chilling me to the bone.

Richard’s long-time vocal and clarinet player Amy Fry also guest appearances on three of the nine enchanted tracks. At times, like the finale, The Birth of Spring, this sounds like it could’ve been recorded on a light dewed grassy knoll, under a troll bridge of a Tolkienesque landscape, at others a Kling Klang type Düsseldorf studio towards the end of the seventies, but the steam of this melting pot perpetually reeks of influences further and wider.

With Matt’s clear progressive-rock influence, tracks like Passing Wave and the penultimate Day Follows Night, hold woozy psychedelic swirls of a Hawkwind free festival, yet the classical piano concertos of Claude Debussy ring through interludes like Three Audio Slow and 2009.

It’s a wonderous journey, mellowly twirling through gorgeously uplifting, sometimes haunting soundscapes, as ambient as The Orb, as methodically composed as Mike Oldfield, as peculiar as The Art of Noise, as moody electronically progressive as Tangerine Dream, and melodically unruffled as Jefferson Airplane.

The second tune, after Karda Estra-fashioned haunting intro, sounding like a spooky film score by William Orbit, Souvenir is vocally a prime example of the folk-rock influence of Jefferson Airplane, but only a slight segment of styles blended here, of which the magnum opus of the album, Emperor combines all aforementioned elements sublimely. This one is as Mike Oldfield created Primal Scream’s Higher Than the Sun from Screamadelica; yeah, it’s that beautiful, all too beautiful!

Find a Richard Wileman track on our compilation album!

Arcana & Idols of the Flesh: Ambience and Chamber-Prog with Swindon Composer Richard Wileman

One portion my nostalgia rarely serves, and that’s my once veneration for spacey sounds, apexed through the ambient house movement in the nineties, but not comprehensively; we always had Sgt Pepper, Pink Floyd and Hendrix’s intro to Electric Ladyland. I’ve long detached myself from adolescent experimentation of non-licit medications, lying lone in a dark bedroom chillaxing to mood music, and moved onto a full house of commotional kids; progress they call it.

Incredibly prolific, Swindon’s composer Richard Wileman might yet stir the memories, if these headphones drown out the sound of a nearby X-Box tournament. Best known for his pre-symphonic rock band Karda Estra, there is nothing vertical or frenetic about his musical approach. Idols of the Flesh is his latest offering from a discography of sixteen albums. Yet far from my preconceptions of layers of decelerated techno, as was The Orb or KLF, or psychedelic space-rock moments of my elders, which our own Cracked Machine continue the splendour of, Richard’s sounds with Karda Estra bases more orchestrally, neo-classical, as if the opening of a thriller movie. Though, so intense is this sound you need no images to provoke you.

Idols of the Flesh is dark and deeply surreal, with swirls of cosmic and gothic hauntings which drifts the listener on a voyage of bliss. Nirvana is tricky to pinpoint in my household, but with my ears suctioned to my headphones I jumped out of my skin upon a tap on the shoulder, daughter offering me some sweets! Momentarily snapped back in the room as if I’d surfaced from a hypnotist’s invocation, but aching to fall backwards into it once again.

Agreeably, this is not headbanging driving music, neither does it build like Leftfield for those anticipating beats to start rolling after a ten-minute intro, it simply drifts as a soundscape, perhaps coming to its apex at the eloquently medieval church organed Church of Flesh, one of two named tunes out of the six on offer, the others given part numbers. Then, with running water, the final part echoes a distant chant of female vocals as if a wind blowing across a sea for another eleven minutes, it’s stirring, incredibly emotive and perfected.

Along a similar, blissful ethos Richard Wileman served up Arcana in September this year, a third album this time under his own name. While maintaining a certain ambiance, it’s more conventional than his Karda Estra, more attributed to the standard model of popular music. It’s an eerie and spectral resonance, though, with occasional vocals which meander on divine folk and prog-rock; contemporary hippy vibes, rather than timeworn psychedelia. Released on Kavus Torabi’s Believers Roast label, a sprinkling of Byrds and Mamas & Papas ring through with an unmistakable likeness to a homemade Mike Oldfield. When vocals come into effect, with one guest singer Sienna Wileman, it’s astutely drafted and beguiling.

Select anything from the bulging discographies of Karda Estra or Richard Wileman and you’re onto a mood-setting journey, composed with expertise and passion. If ambient house is lost in a bygone era, this is reforming the balance of atmospheric compositions with modernism, so mesmeric it remains without the need for intoxication. Now, where did I stash my old chillum?! Probably in a dusty box in the loft with my Pete Loveday comics and some Mandelbrot fractal postcards….

“Static” Shuffle; Swindon Shuffle Live Streams This Saturday

If you rarely venture into Swindon, July is the month in which to make the journey. Swindon Shuffle celebrates and backs local music, since 2007 hosting a weeklong town music festival at its hottest venues; namely The Victoria, The Beehive, The Hop, The Tuppenny and Baila Coffee & Vinyl. In association with Swindon Link and the West Berkshire Brewery, last year they presented forty-four bands over the weekend, all free, and supported mental health charity MIND.

I was forgiven in thinking this year would be virtual, saving some petrol money at least, but the organisers inform me this weekend’s Virtual Shuffle is only to breeze over this gloomy, Groundhog Day isolation period, and they cross their fingers for the real thing on the 16th-19th July; crossing my toes too!

shufflepost

So, yeah, but yeah, whoop-whoop, Swindon Shuffle will indeed fill this gap with plentiful live streams this Saturday 11th April, kicking off at 3:15pm. Streamed direct from their Facebook page, expect to catch all local acts; Jim Blair of Hip Route, the bearer of Devizine’s heart Miss Tamsin Quin, Mr Love & Justice himself, Steve Cox, jazz pianist, singer-songwriter Will Lawton, Harry Leigh, frontman of indie-pop outfit Stay Lunar, experimental Karda Estra project runner Richard Wileman, Onze from Atari Pilot, Joe Rose and Nash.

mrlove
Mr Love & Justice, Steve Cox

Our favourite Swindonian music journalist, the one and only Dave Franklin, if there’s another he’s a phoney, is all over helping organise this sofa bash. He states “obviously there’s more important things going on in the world right now than worrying about a local music festival, but it is also at times like these that music, art, creativity in general, helps get us through or at least offers an oasis of calm where we can retreat to and forget the day-to-day worries for a bit.”

karda estra
Karda Estra

For me personally, I’m continuing to toil with the worth of the live stream against a real gig, ponder it’s currently all we have, worry either punter or musician are forced onto the ropes when it comes to how they should be arranged and financed and have even encountered and engaged in heated debates as we scramble in the dark trying to make this work best for everyone. This said, if anyone can I’m reckoning the Shuffle team will make an amazing job of it. If there is an upside to it, it is that one can check these artists out for when the gig scene does take off, and boy, I’m predicting it’ll go off like an atomic blast, and it will encourage many to take the journey to festivals such as Swindon Shuffle, in this example.

Will Lawton

In the meantime, enjoy the streams and not let it miff us too much at missing the real thing. I tell myself the scene is dormant; it will erupt again. It should go without saying, but I’m going to spell it out; B, for BUY, U for Yourself (sort of,) Y for some local music, (okay, that didn’t work) Look, just support the artists and buy their music from their websites and Bandcamp sites!