BAMBOO is a sublime new project from Nick Carlisle
(of Peepholes, Don’t Argue) and Rachel Horwood (of Trash Kit, Halo Halo). Their
music is vivid and deeply poignant, locking into a magnetic attraction between
between Rachel’s flawlessly resonant folk cadence and Nick’s pristine synth pop
production. Far from being a one off, or dare we say side-project, BAMBOO is
very much a fully realised pursuit, with the band working on multiple records
simultaneously from their Brighton and London base camps. ‘Prince Pansori Priestess’
is the first album to see the light from this pairing of talents. ‘Prince
Pansori Priestess’ was recorded between spring 2014 to spring 2015, this
was before the band expanded to a four piece for live performances, showcasing
BAMBOO as a very original duo with a sound-world very much their own. The title
references a Korean genre of musical storytelling alongside notions of majesty
and faith that are all streams that weave their way through the record.
‘Auroch’ opens this debut album and
slowly unpacks all the qualities that make BAMBOO such an incredible band. At
first the pitched-banjo paces out a chiming circle allowing Rachel’s entrancing
vocal to follow the line, then Nick’s pristine beats and synth clusters blossom
into almost sub-aqua realms of lush swirling melody. “Made me feel like I’m the stone that drowned you in this well”
sings Rachel cyclically throughout ‘Stone’,
an aching song of self-reflection set amidst flourishes of reverberating
keyboard that at times sound like gamelan, at others like fireworks in the
daylight. There are strong parallels to be made between their desire to let a
story unfold in their work and the questing nature of the music itself. Central
to this sound is the meeting of the warmer tones evident in the vocals,
acoustic drums and banjo with the immaculate, spatial nature of the synths and
beatscapes. It feels very pure, prismatic and even mystical at moments without
losing any of its human touch.
‘Hexagonal’ appears to conjure Kate Bush
using a ritual of cycling waves of sound, sparks fly, crystals form and a
thawing is felt within. “It’s real” Rachel
affirms over and over, revolving to mesmeric effect. ‘Sangokushi Love Theme’ was written by Haruomi Hosono of Yellow
Magic Orchestra, and in the hands of BAMBOO begins to shine with even brighter
colours. The all-encompassing sensitivity conveyed in the track is enough to
lift you into the clouds before falling as snow on a distant mountain. It’s
beautiful, serene and nothing short of spellbinding. The kinetic virtuosity
displayed on ‘Khene Song’ and ‘On Bohol’ are also worthy of note.
There’s a robust propulsion at play, unafraid to use silence to punctuate the
speeding marimbas and dense strata of analog drone.
‘Be Brothers’ is another highlight from
the second half of the album. The first part of the song begins very
vulnerably, “Can’t look back, can you
see, something over there looks pretty good to me” admits Rachel honestly
over her fragile plucked banjo motif, a sense of hope returning grows,
underscored by drifts of blushing ambience. Halfway through and the percussion
picks up, allowing the rippling synths to walk hand in hand with Roedelius
towards the horizon. Verity Susman (of Electrelane) guests towards the end of
the ‘Be Brothers’ on saxophone, helping the song reach its more resolved
future. ‘Prince Pansori Priestess’ is
an album born of first fruits and tastes all the sweeter for it. There’s no
finding of feet, just an effortless acknowledgement that both their planets
have aligned. BAMBOO hit the ground running with this debut record, sounding as
unique and mercurial as the gift of song itself.
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