Written, Composed, Performed, Recorded by The Child of A Creek between 2012 and 2014. Piano, Electric Piano, Synthesizers, Guitars and Field Recordings by The Child of A Creek. Mixed and Mastered at Big Wave Studios. Album cover art by Christian Khann (Metaphysical Circuits, A Beard of Snails Records).
Record Label: Metaphysical Circuits (DENMARK)
Shop and Contact: www.abeardofsnails.com/metaphysicalcircuitsshop/
*** NO MORE COPIES LEFT AT THE METAPHYSICAL CIRCUITS SHOP, ASK TO DISTRO LABELS *** (read here and check links out)
DISTRIBUTION: Norman Records (UK), www.normanrecords.com/records/149862-the-child-of-a-creek-hidden-tales-and-other-lullabies
, Stashed Goods Records (UK) www.store.fluid-radio.co.uk/2014/11/the-child-of-a-creek-hidden-tales-and-other-lullabies-tape/
, Eclipse Records (US) email@example.com, The Archipelago Rises (AUSTRALIA) thearchipelagorises.wordpress.com/about/
Notes: “Hidden Tales and Other Lullabies” is a 6song completely instrumental ambient/abstract/electronic/postrock record I’ve recently written, composed, performed and recorded with synthetizers, piano, field recordings, acoustic and electric guitars. Mixed and mastered in a recording studio near home, I could say this is an ambient record which contains elements coming from drone/abstract, electronica and post rock. I have a particular love for this record and for its dreaming touch, gloomy sounds, circular waves, reverbs and echoes, various processed field recordings (paper, glass etc..)
Reviews up to March 2015:
Terrascope (UK mag), March 2015, review by Simon Lewis. Finally on cassette comes the rather beautiful “Hidden Tales and Other Lullabies” a lush six track release from The Child of a Creek, the music uplifting and imaginative allowing the listener to relax completely. Complete with delicate string and gently pulsing notes “Poison Tree” is a gorgeous opener with some sweet guitar/piano adding depth to the piece. With richly chiming bells and echoed chords the title track continues this meditative path whilst “Shy Rainbows, Shy Tears” has a warm flowing drone at its heart, chiming percussion dancing dancing above it, the piece changing in timbre as more instruments are added yet retaining its warmth. By the time you reach “Going Home in the Middle of Nowhere”, the final track, you are feeling very mellow indeed, the music remaining calm and beautiful without descending into New Age, although it does get close at times.
RaisedbyGipsies (US webmag), February 2015, review by Joshua Macala. After the first of the six tracks on "Hidden Tales and Other Lullabies" I began to realize that this was not only going to be instrumental but somewhat different from the other CD I listened to by The Child of A Creek. Indeed it does remain instrumental throughout and it has an ambient-space vibe to it more than anything else. It begins with ambient laser whirrs and space is simply the place. Guitar notes and pianos kick in and this somewhat reminds me of the band Brazil who I believe doesn't create new music anymore but was still tops in their time. Tinny, glass tones come out and then it begins to sound like something out of either 90210 or Law & Order. The fourth song becomes somewhat dark and sad, like a Blue October number, but it picks up before the end with some flute ala Lord of the Rings. Acoustic guitar notes do make themselves known here just not as prominently as they did on the other CD by The Child of A Creek. It ends on crickets chirping, birds singing and an overall sound that could come from the jungle. Through these symphonic songs comes a sense of relaxation though it is done with a tone of seriousness that makes you comfortable but not too comfortable. I like it.
Losthighways, January 2015, review by Alessio Cuccaro. The Child of a Creek is the Lorenzo Bracaloni’s one-man-ban, an autarkic and prolific musician from Livorno who has released two records at the same time last fall to be considered as two sides of the same coin, two sides of a search based on lonely landscapes, Nature’s. Silence through the prevalent use of guitars and voices in “Quiet Swamps” and with instrumental-based keyboards and fields recordings in “Hidden tales and other Lullabies”. Bracaloni consciously chooses to play all by yourself, with the help of occasional loops, electronic or executed also live, maybe coming to an opposite incision. Abandoned the softness of his prev acoustic folk-psychedelic and the most complex and varied textures in his prev record called “The Earth Cries Blood” (2013), today COAC works on layers that add in the construction of desolated and rarefied scenaries, the more sore occurs when the voice. Layers stripped to the bone in reduced choice of sounds in spite of the many tools used in the basic plots of arpeggios, the harmonious development of the songs, often entrusted to a pair of agreements flowing almost in slow motion. An harsh proceed, sometimes obsessive sometimes illuminated by a rising tone keypad or by a distorted sound dear to the Pink Floyd, left to echo in the background of a scene showing desperate anxiety, sometimes by a few piano notes just mentioned in the closure of harmonics (perhaps, the best thing about songs like “The Ravine”). Beyond some possible drifts dark or new-age, just the reference to the more meditative Pink Floyd, who looked at to the experimentalism of cosmic krautrock, seems the most element of a work that delves deep into the roots of pain and in the nature of human suffering. We find in both albums the desire to capture the sound of nature, animated well like in the quadraphonic symphony Irrlicht (1972) by Klaus Schulze,, based on a similar scarcity and lack of rhythmicity.
Sodapop, December 2014/ January 2015, review by Emiliano Zanotti. After about a year from the previous The Earth Cries Blood, the artist behind the name of The Child Of A Creek returns with two albums released in the short distance of each other. Quiet Swamps follows the path traced by the previous Find A Shelter Along the Path and precisely The Earth Cries Blood, Hidden Tales and Other Lullabies lies instead in the wake of the instrumental tracks of Whispering Tales Under An Emerald Sun (his fourth record); this is what we are dealing with today. The man we hear in this tape, we could say it’s The Child of A Creek and at the same time he’s not cause of the atmospheres here are those to which we have become accustomed in listening to the previous albums, but the sound it has gone away significantly, leading perhaps not yet to completion, but certainly to a point of no return, cause of the process of rarefaction which his recent records had suggested us. Without his voice to lead us into the mist and with the guitar that rarely intervenes with good taste, we are immersed in a type of ambient where are the piano notes, laid on carpets synth, to characterize the work: there are sketching melodies usually of a few repeated notes (listen to the beautiful “Daughter of Fortune”), or short phrases that stand out against a fluctuating background, to fade into nothingness. Just to give an idea of what it’s far from the starting point, the second half of the song called “Going Home In The Middle Of Nowhere”, interwoven by field recordings, it can remember an inspired Fabio Orsi and this thing really makes us feel at home, even if we are in the middle of nowhere. Hidden Tales and Other Lullabies could be the birth of a Child Of A Creek’s side project, but maybe it's only (and it’s not cheap at all) the other side of a poetic imagination too rich to be encoded in a single path.
Rockit, December 2014, review by Manfredi LaMartina. There are no voices inside the tracks from "Hidden Tales and Other Lullabies" by The Child Of A Creek. He’s a folksinger with abundant talent and poetry and with this record he chooses the path of silence. But not for lack of topics. It is an instrumental work rather particular, that respects the established style of the author but at the same time, it broadens its perspectives. Because the six songs here they illuminate the other side of a musician who does not seem to be satisfied by what he has done with music up till now. In the ambient version here, with a handful of pieces which move between suspended keyboards, guitars full of reverbs and a melancholy that is interior catharsis. "Poison Tree" floats in the air and becomes a shadow that hides and protects. The titletrack is a crescendo of different elements, including carpets of vintage synthesizers and arpeggios and generous effects. "Rainbows Shy, Shy Tears" is the central point (with noises that insist step by step and a need for harmony which always manages to emerge) a delicate record of an significant artist.
Crampiwordpress, December 2014, review by Marcello Berlich. This is a period of intense prolificacy for The Child Of A Creek, who has released two albums almost simultaneously. After "Quiet Swamps", here’s the new "Hidden tales and otherLlullabies", although it has been released before the first one in order or time. Unlike its 'twin', "Hidden tales ..." is an entirely instrumental work: six tracks of medium-long lenght (constantly around six minutes in length), which is pursuing one of the strands of the musical path initiated by the author from Livorno in the beginning of his musical journey. “Hidden Tales..” shows dilated times and rarefied sounds, where gothic hues are combined with a certain ambient attitude and watching it through filigree, I could say the lesson of the Impressionist Masters like Satie and Debussy has been well learnt by the author. Sound carpets whch draw suggestive landscapes where the sparse melodies drawn by piano, guitar and synthesizers stand out; the cyclic repetition of the same groups of notes, marked with a minimalist way by the individual compositions, here it ensures the inspiration for a dream, vaguely lysergic. An effective record, a new stage of a decade-long sound journey.
Kathodik, December 2014, review by Rachele Beni. SCORE: 4/5. “Hidden Tales and Other Lullabies?” It’s a rib of the other record “Quiet Swamps”. To give you a musical reference, I could say it sounds like a meeting between Einaudi and hashish. Sounds and times are more dilated than in “Quiet Swamps” and there’s a kind of inner peace, a shangrila to strive to: only instruments made of acoustic guitars, electric guitars, piano and synthesizers and noise for an essential experimentation. I cannot recommend a single track, because it would be like breaking a chain, so, listen to the record from beginning to end. I would like for more songs like “Shy Rainbows, Shy Tears”, but this guy is under a continue evolution and I know he’ll never stop his race.
In Your Eyes Zine, November, review by Stefano Cavanna. SCORE: 7,8. The second of these two records that we examine, it’s a brief example of successful ambient music, which in the meanwhile, it shows the enormous (and far from obvious advantage of not ever bore the listener) in virtue of a first class melodic reseac beyond a very exemplary executive cleaning, placing itself at the polar opposite of certain minimalism and mannerism in which often we run in similar context. I do not exclude that one of the reasons why these six songs have really impressed me was, above all, their capacity to bring me nicely to a golden age for these sounds like the 80s, reminding me vinyls that I shamefully left in dust in recent decades, as "Map of Dreams" by Bill Nelson or "Gone to Earth" (the second entirely instrumental by David Sylvian). But it’s sure that tracks like “Daughter Of Fortune” or “Sandman's Dream” reaveal themself, in all respects, as real jewels. Two very successful records by the Child Of a Creek whose reveal themselves complementary and above all, they reveal the undoubted composition abilities of Lorenzo Bracaloni, for who we can only hope, in the future, to gain further space in a prestigious scene albeit such as the ambient-neofolk scene.
Rumore, November, review by di Alessandro Besselva Averame. SCORE: 7. "Hidden Tales and Other Lullabies" is a sort of a minimal instrumental counterpoint towards the other record "Quiet Swamps", in which electronic patterns between the cosmic, the thoughtful and the bucolic alternate with extreme grace.
Blow Up Magazine, October 2014, review by Gino Dal Soler. It’s not a coincidence that the 2nd record in question called "Hidden Tales and Other Lullabies", (it’s a tape), now released by the danish label Metaphysical Circuits, is completely instrumental, vaguely recalling certain ambient moods dear to Tim Shory and even Mark Isham for certain cinematic quality that underlines ‘em: just listen to the song called "Hidden Tales and Other Lullabies" and to "Poison Tree" as an enlightening example. While guitars are not locking, synth and electric piano are the driving elements of the record, always ready to bestow a touch, emphasizing a qualitative leap, to do a step beyond the horizon. Songwriting and Ambient are for The Child of A Creek part of the same landscape.
Rockerilla, Review + Interview (3 pages), October 2014, review and interview by Raffaello Russo. As Quiet Swamps’s twin album, the other new record called "Hidden Tales and Other Lullabies" collects six instrumental tracks that highlight the most ethereal expressive palette of Bracaloni. The renunciation to verbal narration, leaves the to essence of sound the task to design dreamscapes populated by acoustic phrases and field recordings, brushed by piano and by cinematic synth modulations. Quiet environment and nocturnal visions (moderately distressing) follow up in a stream of sound that envelops atmospheres ruled by intimate warmth. Almost by contrast with their bare aphasia, in these compositions the purity of the inspiration by Bracaloni here shines and confirms itself in all its alien delicacy.
, September 2014, review by Francesco Lenzi. The second work, out this month, by The Child of A Creek will be released on cassette by the danish record label Metaphysical Circus: this is a work-initially-anticipated as different from "Quiet Swamps", but in a sense mirror to it. It’s a completely instrumental record, and I could say the ambient features always present in the Lorenzo’s music, here are much more evident, as well as the desire to experiment. "Poison Tree" is the opening track: a beautiful and relaxing sound watercolor, with a melancholy piano which rules the melody (and there are delicate guitar arpeggios in the background following this attitude) and some electronic embroidery just mentioned. "Daughter of Fortune" has a more mysterious and a nocturnal atmosphere, yet being a charming melody (piano and keyboards are always in evidence here). The title track is pure magic: it’s a trip assigned to a hypnotic drone and to an enveloping piano, with reverberated and dark guitars sprouting here and there. "Shy Rainbows, Shy Tears" is an ambient track full of light and a very relaxing, "Sandman's Dream (In a Quiet Night)" is, by contrast, a more meditative and introspective song, but no less enjoyable (with the echo effected piano, a feature that also appears in other songs on the album, and that is unmistakable and enjoyable, as well as the airy guitars). "Going Home in the Middle of Nowhere" is the poignant final track, a song that knows how to move with its melancholic structure, with an impressive duet piano-guitar (and with its keyboards in the background) in the mid-piece appear some psychedelic features, always however in an emotional key. This is a really creepy track that worthily closes the record with its harmonious beauty. The Child of a Creek has surprised us once again with his versatility and creativity: these two new records add a classic extra to his already substantial and golden discography; these records are very beautiful, full of ideas that do not repeat what he said in the past, but they update The Child of A Creek’s style with new shades and new intensity. If you are searching for true emotions in music, these two new episodes by The Child of a Creek are for you: pure art for gourmets. Don’t miss the appointment!