Sung, Written, Composed, Performed, Recorded by The Child of A Creek between 2011 and 2014. Singing, Acoustic Guitars, Electric Guitars, Flute, Zither, Piano, Electric Piano, Organ, Acoustic and Electric Processed Loops, Processed Field Recordings, Synthesizers and Percussions by The Child of A Creek. Mixed and Mastered at Big Wave Studios. Photography and Album Cover Art by Bruno Parisse (Ruralfaune) and The Child of A Creek.
Record Label: Ruralfaune (France)
DISTRIBUTION: Norman Records (UK) www.normanrecords.com/records/149863-the-child-of-a-creek-quiet-swamps-
, Stashed Goods Records (UK) www.store.fluid-radio.co.uk/2014/11/the-child-of-a-creek-quiet-swamps-cd/
, Eclipse Records (US) firstname.lastname@example.org, The Archipelago Rises (AUSTRALIA) thearchipelagorises.wordpress.com/about/
Notes: “Quiet Swamps” is a 10song experimental/folk/ambient/shoegaze record I’ve recently sung, written, composed, performed and recorded with acoustic guitars, electric guitars, piano, electric piano, organ, acoustic and electric processed loops, synthetizers, field recordings and percussions. Mixed and mastered in a recording studio near home, “Quiet Swamps” is my 6th record in the “folk” field and I could say it’s a new step for my musical journey, which runs and explores different roads and different directions if compared to what I’ve done with music up to 2013 (prev stuff is more folk oriented). Mid tempos, open atmospheres, evocative moods and crooked melodies.
ALBUM TEASER: www.youtube.com/watch?v=jIt7EYNNvag
Reviews up to March 2015:
Terrascope (UK mag), March 2015, review by Simon Lewis. “Quiet Swamps” is a vocal album that expands on the instrumentals included down his other new record “Hidden Tales and Other Lullabies”, where the voice giving the tunes more presence with “Land of Hope” reminding me of Ramases or possibly the first Vangelis album. On the title track a simple evocative melody leads us in to another sweet tune creating a delightful piece of quietly drifting Psychedelia a path the whole album follows to excellent effect. Throughout the album the playing and arrangements lift the songs and I am reminded of some of the solo work of Daevid Allen especially his more ambient work. These are just references of course, Child of a Creek has his own voice and you can feel the passion shine through in the music he creates. Elsewhere on the album “The Ravine” is full of shimmering synths, “The Mist” has a moody presence and spoken word intro and “The Owl and the Moon” has a playful whimsical feel and is one of my favourite tracks.
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. The one of his 2 new records, Quiet Swamps, sounds more folk-oriented; there are also differences, clear from the first song, if compared to the previous works and even more to the twin homozygous Hidden Tales And Other Lullabies, which we’ve reviewed weeks time ago. In fact, almost as Hidden Tales.. has absorbed the dreamy tones and the spleen to which we were accustomed, Quiet Swamps is dry without losing introspection, accentuating rather the intimate mood and going to describe an interior landscape even more lonely and melanchonic. It’s a sound characterized by lush arrangements, but never excessive and there’s an electronica that aims with fewer shades; all help to create songs like “The Ravine” with its acoustic guitar, synths and its dronanted items or songs like “Sunset Hill” that reminds to Swans most desperate. These are examples of how the term ‘psych folk’ remains more a definition of convenience than a real reference cause Child Of a Creek runs different paths simultaneously. So, “Lost Horizons” flirts with technology and it’s a kind of space-folk, “Subterranean Life” seems to be a meeting between Current 93 and Tangerine Dream and the song called “Golden Memories” as the best track of this record is pure folk asceticism, where only a few guitar chords, some distant percussions and a string of synthesizers support a very inspired voice. Quiet Swamps reaches the ears in a completely different way than its predecessors, while maintaining clear the style of its creator and I could say it’s the most interesting album of this musician. Future developments, especially in light of the existence of the twin album Hidden Tales and Other Lullabies, are currently unpredictable.
Rockit, December 2014, review by Manfredi LaMartina. Released almost simultaneously with "Hidden Tales and Other Lullabies", the other Child of A Creek’s record entitled "Quiet Swamps" is an album that adheres more to the path of its author. Both records show a common feeling: a melanchonic vision of music, some might say. But while the first one is a completely instrumental record, "Quiet Swamps" is instead composed by transfigured songs through dramatic and dark synths. The voice gives a completeness proof to these songs, which sound very well and allow to The Child Of A Creek to reach his maturity as an author. The titletrack seems to be a secular prayer in the manner of a Martin L. Gore devoid of his usual hyperproduction – and this is so helpless, absolutely true and undoubtedly fascinating. "Sunset Hills" is a beautiful piece, a “wrong” folk that enchants thanks to a voice that vibrates in the uttered world. "Lost Horizons", with its strange keyboards and his acoustic guitar solo, closes as best this new record by The Child of A Creek. Who doesn’t know him, can start listening and following his musical path from here.
Crampiwordpress, December 2014, review by Marcello Berlich. The Child Of A Creek has been around for nearly a decade, under the banner of a journey that saw him gradually making its proposal sounds more and more dilated and rarefied: starting with a mix of folk and indie at the beginning (2004), following (and penetrating) in gothic territories up to follow paths to the borders of ambient. The singer and musician from Livorno now seems determined to cross those same boundaries, while continuing to maintain a solid anchor to the song form, keeping close down his heart the collaboration with Pantaleimon of Current 93 (she’s one of the pioneers of the subgenre that was defined apocalyptic folk). "Quiet Swamps" could be “labelled” this way, but it’s necessary to underline the attempt to reconcile the song form with atmospheres increasingly rarefied and dilated, precisely, at the borders of the vast areas of ambient music and beyond. Premises like these they make it fairly obvious (though not trivial) to define "Quiet Swamps" as a record of atmospheres and emotions: icy (in some ways) but suggestive and evocative at the same time, just like the 'placid swamps' mentioned in the title may be. As usual for the author, “Quiet Swamps” it’s a “do it yourself” album: in the 10 songs (two of which are entirely instrumental) The Child Of A Creek sings (we might almost say the recitation here plays an important role), and takes care of 'played' sounds (guitars, piano, occasionally the flute, synthesizers and percussions) and the 'processed' ones: loops, field recordings. So, the soft melodies drawn by guitars and piano they stand out on a landscape, played mostly on the backgrounds outlines by sonic carpets and by sound effects. “Quiet Swamp” is a further development in the research path by the author, who is experiencing a period of great fertility: this is, in fact, one of the two records recently released.
Kathodik, November 2014, review by Rachele Paganelli. SCORE: 4/5. A stately record for The Child of A Creek. Less drama and more spirituality. A dilated and an almost lyrical singing always hovering between East and West. Probably The Child of A Creek is my part of transcendental meditation with some dark corners made of electric guitars, flute, zither (it’s a particular especially stringed instrument), electric piano and synthesizers. There are tracks similar to each other, but it’s especially in the second part of the album that makes me to appreciate even more the new here like the song called “Quiet Swamps”, where more enters into these visions and expansions (listen to “The Owl and the Moon” also). And I think this is the road to follow up, with an in intensity that goes ahead without being attached to the water stream (creek). And I could say I have a special relationship with water.
In Your Eyes Zine, November, review by Stefano Cavanna. SCORE: 7,8. The Child Of A Creek is the solo project of LorenzoBracaloni, active musician with this monicker since 2004 and with assets of quite a number of albums released. In this occasion, we are talking about two records at close range, one in CD format for the french label Ruralfaune, and the other released only on cassette by danish label Metaphysical Circuits: two works which show two faces, at least distinguishable for approach and formula. In fact, if in Quiet Swamps Lorenzo engages himeself in territories adjacent to neo folk, alternating instrumental tracks to others which he shown a very good mastery of his own voice, in the other record called “Hidden Tales and Other Lullabies”, he offers us a convincing portrayal of an airy and melanchonic ambient music. The first record, much longer than the second one, highlights a considerable songwriting talent, where the musician who descends in the ground of neo folk leaving aside assorted intellectualisms to focus on a song form often of rare effectiveness, as happens in the evocative title track, in a song called “Subterranean Life” (very close to the moods of Duncan Evans in "Lodestone"), in the dark song called “At Morning Or at Dusk” and in the track called “ The Owl and The Moon”; there are also valid traces entirely instrumental, as the most environmentally “The Ravine” and the worthy closing of the record is well represented by “Lost Horizons”, but overall the contribution of voice, in this context, it reveals an added value altough Lorenzo isn’t an excellent vocalist but his voice is absolutely much more appropriate than the average of those who engages in this genre. 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. Two simultaneous albums on two different labels (one for the french label called Ruralfaune and the other one for the danish label called Metaphysical Circuits) for The Child of A Creek, aka Lorenzo Bracaloni, a tuscan composer whose original path to folk music is producing very thick records not always adequately exploited in the past years. The protagonist in “Quiet Swamps” is the voice whose very particular vibrato, places the music somewhere between Dead Can Dance and Pearl Before Swine, while the multiform arrangements are here less bare than in the past with impressionistic keyboards and electric guitars.
Blow Up Magazine, October 2014, review by Gino Dal Soler. A few years ago I discovered his 3rd record called "Find A Shelter Along the Path" and I thought immediately The Child of A Creek as the best embodiment of the Italian acid folk, although Lorenzo sang and keeps singing in English. I could say he has hit the road so much from that era, musically speaking and playing live in several occasions and this thing allowed him to take more and more confidence with his very powerful voice, gifted by a natural vibrato which is his imprint. But to be a talented artist a great voice isn’t enough also counts the writing and The Child of A Creek’s writing is always changing and growing as shown by these two very great projects linked to and different from each other at the same time. The new record "Quiet Swamps" ideally follows the previous "The Earth Cries Blood" over a year ago but the approach is different, more intense, painful and full of sound events. You’ll find here his typical elegiac style: take a lusten to the song called "Quiet Swamps", to the beautiful "The Owl and the Moon", but we feel even a more dramatic and restless tension under the skin: the song called "Subterrean Life", "Sunset Hills" while the first entirely instrumental pieces of the record appear: "Lost Horizons", "the Ravine" that seems to come out from a distant Bill Nelson’s outtake from "Sounding the Ritual Echo". Although the electric guitars prevail again, but also the acoustic guitars, strong is the presence of the piano and the electronic keyboards and consequently the processed loops and the field recordings scattered here and there to give environmental colors to the background.
Rockerilla, Review + Interview (3 pages), October 2014, review and interview by Raffaello Russo. The composite creative universe of Lorenzo Bracaloni manifests itself in all its facets along the 10 tracks of "Quiet Swamps." (Neo) folk ancestral suggestions, processed loops, environmental rarefactions and acoustic sweetness are conveyed by acoustic arpeggios and skinny piano notes they follow up a gallery of surreal visions, in which dream and nightmare fade in the same dense material sound. Compared to the bleak visions of the previous "The Earth Cries Blood",we find in this new records a glimmer of hope, a poetic lightness that balances spectral environments and residual torsions of murky psychedelia. The kidnapped evocations of Bracaloni, maintain their intimate connection with Earth’s moods opening themselves to boundless soundscapes.
, September 2014, review by Francesco Lenzi. The first of these 2 records is called "Quiet swamps" and will be released by the french label Ruralfaune. For those who loved the earlier album (the fantastic "The Earth Cries Blood"), I wonna point that he hasn’t betrayed our expectations in any possible way, in fact, I could say he has "multiplied" the aura of beauty in his music, giving us a more intense piece of music. And for those who still didn’t know his music, this is a great opportunity to deepen ahead. The record opens with a highly suggestive song, "Land of hope" that mixes folk, psychedelia, ambient, dark and introspective moods in a very personal way-as typical for Lorenzo- and as always, Lorenzo does everything by himself (playing different instruments and singing), and the end of the song is a spiral wrap of dreamlike and meditative reverses. The title-track comes next, as a rush in the night: it’s an inner journey that seems to take us to another dimension, where a vague taste of old folk which is well matched to the ambient airy and shimmering segments (featured alienating vocals, covertly dreamy and original). "Sunset hills" is a more relaxed song, but always with a touch of healthy concern in the background which is not bad, all lying between delicate arpeggios and poignant notes in the background alternating to enigmatic moments. "The Ravine" is an instrumental that sees enveloping keyboards in the foreground, in a climate in which mysterious and sought after traits emerge even more experimental, though always enjoyable and even relaxing at the same time. "Subterrean life" is a song more introspective in balance between dark moments and refinement sound (with psychedelic reverses in the final), with the voice that alternates narrative moments to the particularly inspired sung ones. "At Morning or at Dusk" plays with well managed chiaroscuro and dynamics (even here there are narrated moments alternated to singing), with a beautiful melody that moves. "The Mist" is a reflective and calm track, headed back to narrative cadences, with an exerimental touch, set this time in a psychedelic mood perfectly tangible. "Golden Memories" digs up personal memories (and also the return of nocturnal atmospheres as happens in other tracks of the record) and this song has a vaguely progressive mood (thanks to the electric piano, but also to the evolving structure), while in the final the ambient cadences are “contaminated” as by his suggested rock background. "The Owl and the Moon" could be perfect for a soundtrack, and it is a very melodic song, but still very refined (magical and intense in its simplicity, hear the successful guitar in the final), "Lost Horizons" is an unusual and instrumental final song, in which appears an analog electronic carpet analog in contrast to shadowy guitar arpeggios. “Quiet Swamps” is a good album, full of ideas and memorable suggestions.
, September 2014, review by Francesco De Sandre. Score: 7,5. The Child of A Creek is an old acquaintance for SpazioRock and here you can read reviews of his prev records, “Whispering Tales Under An Emerald Sun”, “Find A Shelter Along The Path” and the more recent “The Earth Cries Blood”. Introspectively ruthless, photographically blurring, categorically melancholic and timeless. Time: it’s worth to dedicate an immobile fraction, a clear drop in the darkness of the swamp: the new effort by Lorenzo Bracaloni. We’re talking about time and this record has needed time to be recorded in its entirety: but it’s more than an album, it seems to be the contemplation of desires, emotions and personal reactions: "Quiet Swamps", released in September, is not sharing, not fancy or imagination, it’s harmonized realism, dilated, dissolved in the stories of an author who masters guitars, flutes, zither, piano, loops, synthesizers, percussions and who directs its orchestra independently. To take a look at the album is a blast, an accidental fall in the well of truth, often sad but hopeful. And from that fall we emerge purified and regenerated by means of a natural sonic essence performance in a slow awakening. Generosity and lighting are the keys to enter the world of which The Child of A Creek is the guardian, draftsman, messenger.