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All This I Do For Glory

by Colin Stetson

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Jack Bandit
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Jack Bandit Ever considered collaborating with The Body ? Favorite track: All This I Do For Glory.
laddersgone
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laddersgone I sat six feet away and watched his face turn purple while he played these songs. Purple. Favorite track: In the Clinches.
Thibaut Devigne
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Thibaut Devigne As far as I am concerned, this is the best Collin Stetson album I had the pleasure to listen to to this date. There is still the unmistakanable drone of the sax, but also more percussions and use of effcets which give a whole new dimension to Collin Stetson's work. Despite those additions, it is probably also his most accessible album at time of writing. So if you don't know this artist, give it a listen, as it easily defies genres. Favorite track: All This I Do For Glory.
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  • Compact Disc (CD) + Digital Album

    Includes unlimited streaming of All This I Do For Glory via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 2 days
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      £9.99 GBP or more 

     

  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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      £6.99 GBP  or more

     

  • Record/Vinyl + Digital Album

    Includes unlimited streaming of All This I Do For Glory via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 7 days
    Purchasable with gift card

      £13.99 GBP or more 

     

  • All This I Do For Glory - WHITE vinyl
    Record/Vinyl + Digital Album

    Limited to 1000 copies (we have a limited amount of copies for this store only, the rest will be available in all good indie shops). For sales in the UK and Europe 20% VAT will be added on top.

    Includes unlimited streaming of All This I Do For Glory via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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about

“All This I Do For Glory” is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narrative, it exists temporally somewhere between 2015’s “Never were the way she was” (with Sarah Neufeld) and the first volume of the NHW Trilogy.

With this, his first solo outing since 2013’s “To See More Light”, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments' many percussive elements.

There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal “In the clinches” recalls (or presages) echoes of songs like “Judges”, though now feeling like one has fallen down the bell of Stetson’s ancient bass saxophone itself. “Spindrift”, crystalline and serene, calls to mind the ambient works of Aphex Twin, while “Between Water and Wind” with it’s “Immigrant Song” swagger, relentlessly carves it’s way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album’s six tracks.

Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

credits

released April 28, 2017

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Colin Stetson Montréal, Québec

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