Clem Leek – Lifenotes (Drifting Falling)

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If the track count and total playing time were anything to go by, you’d think this to be a punk release. Uk composer Clem Leek is know for his richly dense landscapes of sound, so with 16 tracks spread across a meager 35 minutes, I was curious to find out just what Clem was doing on this release, his latest out on Drifting Falling. He explains “I wanted to keep the album very basic and raw……it was all about getting back to basics”. Mission accomplished.

The sound of sci-fi computer like textures opens the release on “Page One’, before echoing piano and violin appear playing sparsely in the background. Heavily effected guitar lays down a bed for the clean fingerpicking to sing atop on “Past The Pasture and Beyond The Hill’, which sparkles openly like the sun setting on a country field. Tracks like “Breaking Down’ is where this collection shines, with a lone piano playing a simple motif. Simple, straightforward and unaccompanied, its’ sparse choice of notes hold the tension just right. “Trying Too Hard’ continues the solo piano theme, and is followed in suitable fashion by “Apt. #4116′. “You’re So Very Far Away’ jumps to guitar, it’s gentle clean tone and reverb shining like a spot lit diamond. This whole release makes me think of music for film, as each track has it’s own mood, and they vary from piece to piece, without being grouped together. A garden of birds chirp wistfully along with piano and texture on “November 11′, before the piano takes the sole spotlight on “The Diary I Never kept’s and “Hopscotch’. “Origami Soldiers’ is ominous with its’ orchestral blanket tones and lurking bass, synthesized dots of morse code punctuate the discourse. Close miked piano sings alone on “Rain Song’, while the aptly titled “Closing (the end)’ is more a cursory marker than an actually track itself, winding down to close the edition after just 50 seconds.

This feels almost like a sketchpad, a collection of thoughts or memories all filed into one and put away for safe keeping. For me, it’s a little too scattered in it’s approach and sequencing, jumping from one mood and instrument to the next and then back again. Each piece feels different to the one before and after it, and as such comes off feeling a little like a b-sides collection. If the tracks were sequenced more appropriately, I’d have enjoyed this alot more. Still, quite an accomplished assortment of moods.

Nick Giles

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