Virginia AstleyCountry of origin:England Type of music generally:Ethereal, dreamy, synthesized, strange, experimental. Status:Most recent album, Maiden Newton Ecliptic (2007) See also:Official Virginia Astley site Comparisons:Julee Cruise, with her thin singing voice. (nkg@vcn.bc.ca) Covers/own material:Own, and sometimes cowrites songs General comments:Her voice is high and thin, a bit childish, and not very strong, but it does suit her music. As for what her music is like, I think she could vaguely be compared to Enya, also in the way she uses and sometimes overdubs her voice, but her music is quieter, softer, a bit more down to earth, and on the other hand more pop. Not necessarily like 'if you like Enya, you'll like Virginia Astley...' People like Philip Glass, Brian Eno and Laurie Anderson have also been mentioned in connection with Virginia's approach to music. (Marion) Recommended first album:Promise Nothing is a good beginning—a compilation of early work. Basically, though, her work is hard to find so any recording you can find is a good start. (Neile) Recordings include:
From Gardens Where We Feel SecureRelease info:1983—Rough—58; Happy Valley Records—a 1994 or 1995 Japanese cd reissue which includes the Melt The Snow EP Availability:Hard to find vinyl only in U.S., reissue available in Japan Ecto priority:Only recommended for those interested in it from the description. Produced by:Russell Webb Comments:This is one of my all-time favourite albums, though it's one of those albums that I tend to forget. It's beautiful quiet music to listen to when you're lying in the grass in the summer. I've had a vinyl copy since 1983, and a few months ago three of her cds were re-released in the UK. The cd version has 4 extra tracks, the song "Sanctus" which I already knew from Promise nothing, and 3 versions of "Melt the snow" of which I like the two instrumental versions best. The original album is all instrumental, mainly piano, accompanied by flutes, oboe, voice (no lyrics), birds, swinging gates, church bells, sheep.... A song title like "With my eyes wide open I'm dreaming" (on the "Morning" side of the album, the other side is called "Afternoon") sort of describes the music. It's quiet, peaceful, neo-classical, a bit new age I guess, with occasionally a slightly disturbing sound—think Enya's "Watermark" (the song), but then even more quiet. (Marion) Melt The Snow 12" EPRelease info:1983—Rough Trade/Happy Valley Records Availability:Hard to find vinyl Ecto priority:Recommended for those interested in Astley's work. Comments:A mournful piano and string trio track, (one in which the viola and cello really set the tone) a slightly bouncier tune with lyrics, overdubbed harmony vocals and flute and one pizzicato string track with piano and tinkly bells, etc. Entirely acoustic. (nkg@vcn.bc.ca) Promise NothingRelease info:1984—Les Disques du Crepuscule—TWI 194 Availability:Hard to find vinyl Ecto priority:Recommended for those interested in Astley's work, dreamy, experimental pop. (Neile) Produced by:Jon Astley and Phil Chapman Comments:This is a sort of compilation album, containing the four tracks of her first 10" EP "A Bao A Que", a track she recorded for an NME-cassette, another single, and two tracks from From Gardens Where We Feel Secure. Those two are the only instrumental pieces, the other tracks are more headed towards pop music. There's keyboards and synthesizers instead of the piano, but the flutes and oboe remain, with an occasional guitar or cello, and her music still has a sort of classical feel to it. "Arctic death" is chilling, dark and cold—it would very well have fit on Hector Zazou's Songs from the Cold Seas. The other songs seem lighter, they still have that "quiet" sort of feeling, but her lyrics are often a bit sad. My favourite song is the perfect little popsong "Love's a Lonely Place to Be", which was almost a hit single in the UK in 1983, with fairy-like tinklebells, but don't be fooled by the music. (Marion) Hope in a Darkened HeartRelease info:1986—WEA UK; Geffen US—Geffen 24194; WEA Japan—WMC 5-567 Availability:Available in Japan and can sometimes be found as an import Ecto priority:Recommended for those interested in it from the description. Guest artists:Ryuichi Sakamoto—keyboards Produced by:Ryuichi Sakamoto, Jon Astley, Phil Chapman, Virginia Astley Comments:Nearly entirely synthesized, and totally covered with Sakamoto's production fingerprints, to the point where I wonder how much creative input Astley had on it, as it sounds very much like a lot of Sakamoto's earlier work. The tracks feature uncredited fretless bass, rich synthesized washes and fills, prominent Sakamoto-style electronic percussion and lots of repeated triplet patterns. It also has lots of sampled trumpet, oboe, violin and piano melodies weaving in and out. Only one track reflects her earlier work—"A Summer Long Since Passed," which is lalas and piano and rural English bellringing sounds. All Shall Be WellRelease info:1992—Happy Valley—COCY-9961 Availability:Japan Ecto priority:Recommended for those interested in Astley's work, dreamy, experimental pop. (Neile) Group members:Virginia Astley—vocals, piano Guest artists:Anthony Coote—guitar Produced by:Virginia Astley Comments:Virginia Astley's light, sweet vocals floating over simple arrangements. Lovely. Her singing and instrumentation is straightforward and non-emotive and that contrasts with the emotion of the lyrics. Somehow this builds up a tension with is the strength of her work for me. You can listen to this either for the pretty tunes and vocals or really listen to the lyrics and it becomes something quite different. (Neile) Had I The HeavensRelease info:1996—Happy Valley—COCY-80070; released (briefly) Rosebud Music—RBXCD1003 Availability:Japan Ecto priority:Recommended for Astley fans Group members:Virginia Astley—vocals, piano keyboards, flute Guest artists:Graham Henderson—keyboards, guitars, accordion, vocals Produced by:Virginia Astley and Graham Henderson Comments:Like so much of Astley's work, this is a collection of dreamy-sounding pop songs: uncluttered arrangements, simply pretty tunes dominated by Astley's childlike singing—but all this belied by the dark, rather depressing lyrics. So light but it's not cloying as it could be in another's hands. The effect is very difficult to describe. (Neile) Further info:Astley worked in The Ravishing Beauties with Kate St. John and Nicky Holland (of Fun Boy Three and assorted solo work). |
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