Only the most dedicated and single-minded of artists would think to launch their new mini-LP on December 27th, but then Suilven Recordings are becoming famous for their integrity and exclusion of anything other than creative factors and thus we have "Suilven 007": a collaboration between label supremo DANIEL PATRICK QUINN and Edinburgh musician BEANO JAMESON and surely 2004's last fine record to boot.
Named after its' catalogue number, the "007" in the title may well sell a dummy to those of you with no knowledge of Quinn's label and who might be expecting some kind of John Barry-ish instrumental feast. Actually, "Suilven 007" DOES have certain filmic qualities (as we'll see in a moment), but predominantly it's a well-matched collaborative effort from two intriguing characters whose furtive muse quietly makes its' presence felt during the course of these four instrumental tracks.
Actually, opening track "Dunstanburgh Castle" is a purely solo effort from Quinn and its' slow, droning quality will be easily recognisable to those who've enjoyed DP's recent albums "The Winter Hills" and "Severed From The Land". Punctuated by bass drum, shaker and (possibly) crasing waves, its' melody is carried by a lone violin and it's rich, folky and (dare I say it) Celtic in execution, while also bringing the minimal likes of John Cale and Mark Hollis to mind. It's surely an intriguing signpost to where Quinn's solo work may wander next year.
"Suilven 007"s other three tracks feature Quinn and Jameson in tandem and it clearly fuses a creative atmosphere. "The Sun Rises" and the closing "Sutherland County" are both dreamlike pieces, with the former recalling both Brian Eno and featuring the 'awakening' kind of quality the title suggests, while the languid, droning "Sutherland County" is - to these ears - not too dissimilar to some of the material on Daniel's "Severed From The Land" album. It's superficially ambient, but like much of Quinn's work allows some quiet melodic spillage to seep out and guide you. Intriguing stuff.
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For this writer, though, it's "Death On The Ridge Road" that is the most memorable track here. With a lone, lowing cello setting us up, it has notable soundtrack-style qualities, with spacy, atmospheric keyboards sweeping in from the unforgiving North Sea and the deep, funereal pounding of a bass drum to drive it home. It may not conjure the noir-ish image of its' title, but is undoubtedly filmic nonetheless and evocative enough to stay with you for ages afterwards.
A satisfying 25 minutes, then. Whether "Suilven 007" is purely a one-off or the first collaborative effort between these two artists remains unknown, but it's illuminating, diverting and harbours cinematic possibilities into the bargain. Not bad for a paltry £6.
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