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BR 014LP
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LP version. Andrew Tuttle's Fleeting Adventure is a musical adventure through a reimagined journey from the Australian ambient producer and banjo player. Golden plucks of banjo, gauzy electronics and cosmic guitar shimmer into gloriously expansive melodies that conjure peace and space, comfort and wonder. A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle's fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 -- a half-hour drive to collect an online order, the furthest distance he'd traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. Thinking of musician friends and peers around the world -- each confined to their own immediate surroundings -- Tuttle's generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider, and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) -- among many others -- each fitting seamlessly into Tuttle's vibrant musical world. Whilst previously a feature of Tuttle's music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle's previous and breakthrough album Alexandra (RMSG 022CD, 2020), inspired Andrew to develop songs that are as serene and patient as he's ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew's collaborators. The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn't necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.
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CD
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BR 014CD
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Andrew Tuttle's Fleeting Adventure is a musical adventure through a reimagined journey from the Australian ambient producer and banjo player. Golden plucks of banjo, gauzy electronics and cosmic guitar shimmer into gloriously expansive melodies that conjure peace and space, comfort and wonder. A deepening sense of life, love, health, loss, and luck shaped the outlines of Tuttle's fifth, and most collaborative album to date. Following a surprising exhilaration and exhaustion from the hitherto most innocuous of moments in mid-2020 -- a half-hour drive to collect an online order, the furthest distance he'd traveled in months; Tuttle commenced working on new musical ideas loosely based around navigating the aftermaths and interregnums of a restless era. Thinking of musician friends and peers around the world -- each confined to their own immediate surroundings -- Tuttle's generative and collaborative musical practice became a silvery through-line, connecting American innovators Steve Gunn, Chuck Johnson, Luke Schneider, and Michael A. Muller (Balmorhea), to French/Swedish violinist Aurelie Ferriere and Spanish guitarist Conrado Isasa, back to Australian friends such as Voltfruit (aka Flora Wong and Luke Cuerel) and Darren Cross (Gerling) -- among many others -- each fitting seamlessly into Tuttle's vibrant musical world. Whilst previously a feature of Tuttle's music, the exploration of space and texture found within Fleeting Adventure feels particularly vast and generous. The involvement of Chuck Johnson and Lawrence English mixing and mastering the album respectively, as with their work on Tuttle's previous and breakthrough album Alexandra (RMSG 022CD, 2020), inspired Andrew to develop songs that are as serene and patient as he's ever sounded. Stripping elements back, the idea of pulling the songs apart somewhat, was just as important as adding the work of Andrew's collaborators. The road to Fleeting Adventure has been both long and short, but it sits as a tender and perhaps even vital reflection of an era in progress, in retrospect and in anticipation. A poignant contemplation on the many bonds that make up our lives from friends and family to the myriad places we inhabit and pass through along the way. The idea that an adventure doesn't necessarily have to be a grand statement Andrew Tuttle has gathered up a number of his contemporaries and crafted something quietly spectacular, a new beginning to familiar habits.
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CD
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RMSG 022CD
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Andrew Tuttle grew up in Alexandra Hills, a quiet slice of rural life in Redlands, a city which lies 20km or so from Brisbane, on the East Coast of Australia. Or at least that was the plan. The reality proved to be somewhat different, the area changing quickly after his family's relocation there, resulting in his home being quickly absorbed by rapid urban sprawl, leaving him in a limbo between nature and suburbia. Alexandra, Tuttle's fourth studio album, reflects the growth apparent in his three previous Room40 releases and commitment to developing a reputation in his home country of Australia in the time since his 2015 debut. Leaning upon the inspiration pulled from recent tour supports with contemporaries such as Steve Gunn, Ryley Walker, and Calexico; Alexandra presents a true sonic landscape; a musical reflection of a rediscovered homeland. A magician of banjo and resonator guitar, Tuttle named the album after that Queensland street and suburb where he first created and fell in love with music. Alexandra is the sound of rediscovering one's environment, almost twenty years on, tracing it with an organic, expanding flow of energy. The songs on Alexandra weave their way serenely and purposefully, tracing a gossamer path resembling the distinctive, scribble-like burrowing patterns left by moths on the scribbly gum trees which dot Tuttle's ambles through the Australian bushland backgrounding the suburban environment. Splashes of color flutter through like rosellas in flight, with pedal steel, piano, strings and horns contributed by collaborators such as Chuck Johnson, Tony Dupe, Sarah Spencer, Gwenifer Raymond, Joel Saunders, and Joe Saxby. Painting broad strokes of local color amongst a deeply rooted spirit of place, Alexandra is a journey that tranquilizes the restless mind. This expansive album cycles through a rediscovered environment, illuminating forgotten or overlooked landmarks, evoking the dreamy ritual of the "flaneur" (a romantic figure imagined by Charles Baudelaire and Walter Benjamin) who wanders the streets, with the sole purpose to wander. Mixed by Chuck Johnson and mastered by Lawrence English, Alexandra was tracked externally at Brisbane's The Plutonium by engineer Aidan Hogg, then edited and processed at Tuttle's studio in Brisbane and at his childhood home on Alexandra Circuit in Alexandra Hills.
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RMSG 017CD
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Andrew Tuttle is a best-kept secret of the Australian underground. A composer, improviser, and collaborator who has shared stages with Matmos, Julia Holter, Forest Swords, Steve Gunn, OM, Deradoorian, and many others, a world traveler and artist in residence, his third, self-titled album, is an expression of his life in music and a reflection of life in his home city of Brisbane. Primarily developed in a Brisbane bedroom, home to a banjo, acoustic guitar, and synthesizer; the album is lilting, elegant and delicate -- the sound of joy and imagination. There's a wide-eyed sense of positivity and discovery throughout. Tuttle's music meanders, swings, and sometimes soars like birds across a radiant sunset. Each note feels alive, with harmonics stretching out to meet the neighboring notes, much as the Brisbane River winds and the eucalypts and palm trees of Tuttle's home suburb of New Farm intersect with a constant vibrant hum of humanity. Andrew Tuttle's body of work maintains both a sharp creative focus and a wide-eyed spirit of exploration. Like time-lapse photography, it unfolds its colors and textures with an astonishing gracefulness and wonderment. Born of reflection rather than of nostalgia, Tuttle's third album and his performed works are the sound of re-discovering one's local natural and urban environments -- and the importance of embracing love, family, and friendship in a turbulent world. Tuttle's first two solo albums Slowcation (2015) and Fantasy League (RMSG 015CD, 2016) heavily played on an inherent tension between Tuttle's primary musical interests of acoustic instrumentation and digital synthesis. On his third, eponymous album, Tuttle has brought these worlds closer together -- sparse decayed banjo and fragile guitar motifs are at one with shimmering filtered delays and bubbling electronics. For this third album, a fortnight residency at Stockholm's EMS Elektronmusikstudion and collaborations with Charlie Parr (electric guitar), Dina Maccabee (viola), Chris Rainier (prepared guitar), and Joel Saunders (trumpet) were an initial creative impetus, however these seemingly disparate explorations have manifested themselves into Tuttle's most cohesive work to date. The final album, a result of several careful revisions, reflects Tuttle's belief in this work as a major personal and creative statement. In Andrew Tuttle's world, folk and bluegrass rituals, ragas, and drones cozy up to electronic technology like they've known each other their whole lives. Tuttle dwells in a between world of ambient and folk genre that feels like a community all of its own.
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CD
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RMSG 015CD
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What is Fantasy League? Taking his unique blend of acoustic and electronic elements as a starting point, Brisbane artist Andrew Tuttle has devised an approach to the notion of Fantasy League loosely based upon the idea of the creation of an album as a utopian fantasy environment. This environment sets social interaction against total isolation. It sets self-reflexivity against self-confidence; it promises to complete you, as you complete it. But at what point is the fantasy to be broken? At what point must the music fall away from the promise of becoming and into the concrete nature of being? In Fantasy League, your position is only ever as certain as your desires. Music and self are in unison, but never settled or steady. Written, recorded, edited, and mixed May-October 2015, James Street. Mastered by Lawrence English, November 2015. Andrew Tuttle: computer, banjo, synthesizer, acoustic guitar. Tuttle has released recordings on Room40's A Guide To Saints label and Heligator, in addition to several private mixtapes. Tuttle has collaborated live or on record with artists including Matmos, Lawrence English, Blank Realm, Mike Cooper, and Heinz Riegler, and shared concert lineups with Matmos, Julia Holter, Hauschka, The Soft Pink Truth, Forest Swords, Omar Souleyman, Om, Marihiko Hara, and countless others. Prior to 2013, Tuttle created music under the nom de musique of Anonymeye, releasing three albums and performing over 100 concerts in Australia, Europe, and New Zealand.
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