Perfect Sunday listening as Southern & Eastern musical breezes join the hazy, psychedelic, ambient thermals of one man band Seabuckthorn's guitar focussed, folk rooted, space enhancing, time slowing, free spirited yet erudite musing for Bookmaker Records.
"New & Notable: Brutal and brilliant experimental guitar music with a bit of psychedelic flair"
"Cartwright plays with genre in such a way that he's almost thrown away the concept. Elements of experimental drone and outsider folk are sprinkled throughout this LP, but the music itself is Cartwright's own. It's not a blend, it's not pastiche, it's something startlingly new altogether."
"Cartwright shows himself to be a masterful storyteller who maximizes the different instruments' timbres and sonorities to author ten self-enclosed worlds, each one different yet nonetheless emblematic of his sensibility."
"It is what is left out that gives these tracks their power and impact; there are no unnecessary passages of showboating or superfluous grandstanding. Everything has its place and it is carefully, and sensitively, constructed and yet seems so spontaneously organic"
- Dayz Of Purple And Orange
"If your musical tastes match the Venn diagram drawn by Seabuckthorn’s ambient/folk hybrid, this is one album you definitely need to check out."
- Fluid Radio
"Spanning worlds between traditional folk music and weighty neo-classical music, Seabuckthorn's passages are heavy with emotional resonance that jump and spark from a highly expressive style of playing that is traditionally rooted and highly experimental and free-thinking."
- Tome To The Weather Machine
"To refer to Seabuckthorn as a solo guitarist seems like a gross oversimplification. I think had I gone into the album in all ignorance I might not have even made that distinction."
- Was Ist Das
"What can be better than listening, free of distraction, to a performer so at ease with their instrument and environment that you become entirely swept up?"
- Tiny Mix Tapes
"A House With Too Much Fire never feels like an imagined accompaniment to a film in Cartwright's mind. Rather, it feels like it is that film. The difference is subtle, I suppose, but it has massive implications when it comes to how much I love an album and I mostly love this one."
"All those elements added together makes A House With Too Much Fire a piece of introspection that colors outside the lines. It is adventurous and accessible (...) Many a director would do well to keep Cartwright's number at hand."
"It flies to new territories, one of this year's most fascinating and astonishing records."
"4/5 STARS: Seabuckthorn presents musical images that are focused, melodic and experimental at the same time. (...) All in all, quite an intriguing and listenable mood piece that at the same time shows skill and intelligence. Highly recommended."
- Sputnik Music
"In the past, Andy Cartwright’s music birthed sepia visions of an old America and her boundless prairies, but the music’s underlying upset was due to a gradual relinquishing of innocence. In 2018, the land’s nothing more than skeletal remains. The world hardened the land, and the land – along with the music – changed."
- A Closer Listen
"A fascinating and cinematic symphony of states of mind, of ephemeral sensations and inner landscapes that appear to emerge from the shadows of a chiaroscuro."
- Buscadero magazine
"impressively captivating stuff that acts as both an inviting in-road for the uninitiated and a culminating reward for longer-term followers."
- Delusions of Adequacy
"It’ll hold your interest for a complete listen, despite its Ambient moments and that’s where the real strength of the album lies; you’ll reach for this one time and time again as you’ll know every track is thoroughly well put together and will never fail to disappoint."
- Irregular Crates
"4/5 STARS: On the strength of this cinematic album, Seabuckthorn has a lot to offer the world of the soundtrack. (...) Sounds at times like traditional music from a lost civilization he's discovered in the mountain territory of his Alpine home"
- Northern Sky Magazine
"Gorgeous stuff. The spookier side of Daniel Lanois might be a touchpoint here, along with Ennio Morricone, Popol Vuh and even Tuareg desert blues. But Seabuckthorn really sounds like no one else and I hope this album draws more attention to his rich, organic sound world."
- An Ear Ful
"you’ll likely find this LP on our list of Favorite Albums from 2018!"
- Live Eye TV
"For me one of the most interesting guitarists of recent years"
French Reviews :
"Comme un vrombissement originel : quelque chose vient enfler et enfler lorsqu’on lance A House With Too Much Fire. Des lamentations lointaines, comme des plaintes de baleines imitées à la guitare, des vibrations incessantes qui en l’espace d’un instant emportent dans un univers propre, un microcosme bâti autour de la guitare désencordée qui se perd dans le lointain."
- A Decouvrir Absolument
"Totalement instrumental, happe et fascine. Les cordes pincées, frottées, tout en arpèges et boucles, ont quelque chose d’irréelle et entraînent dans une dimension rarement atteinte, celle de l’émotion pure."
- Indie Pop Rock
"Une musique inclassable, parfois déroutante à la lisière de la musique improvisée, du jazz et de l’expérimentation la plus intransigeante."
"L'album - soit dit en passant masterisé par le grand Lawrence English - offre une palette généreuse d'une folk aux nombreuses textures instrumentales. Intenses, rudes, planantes"
"Sur une base de guitares, banjo et clarinettes, Seabuckthorn altère la profondeur des sonorités et manipule les échos des ondes afin d’y puiser une atmosphère mystérieuse et onirique. Les percussions et les synthés augmentent le champ des amplitudes possibles, créant là un univers complet de rocaille et de lumière."
- Froggy's Delight
"Andy Cartwright effeuille une partition quasi-hantée, nourrie d’éthers vaudouesques et psychédéliques"
- La Biscuiterie
"Rien ne hurle ici, rien ne se montre directement, mais c'est plutôt un discours qui enfle avec méthode, et qui propose une écoute patiente – le pathos, mais avec la classe."
- Le Temps (CH)
Heavily influenced by mountain terrain after relocating to the Southern Alps, Andy Cartwright has experimented further under his Seabuckthorn alias with raw guitar sounds in bowing, fingerpicking & the use of slides, bringing a wider channelling of atmospherics & textures. Recorded in late 2017 and with the wood burner always in use, most song parts were captured in one take providing a spontaneous feel, focusing on loose, minimal improvisations which are apparent somewhat in Seabuckthorn’s live performances. With the new addition of banjo, clarinet & synthesizer to occasionally accompany the guitars, this release reflects the spatial surroundings in which it was created.
This is the 4th release with Parisian based record label Bookmaker Records & first collaborative release with La Cordillère.
supported by 26 fans who also own “A House With Too Much Fire”
It is somehow fitting that so much beauty should only be restricted to a 20-minute mini album. Anything longer and you would almost expect the sweetness and luminescence of the delicate harmonies conjured up with devastating and arresting intensity throughout the album to become overpowering and ostentatious. Anything longer would have spoiled the perfect delicate balance of this perfect poem. This album is bound to catch people off-guard with a number of moments of brazen forthright beauty, made perhaps even more potent and affecting by the tactile character of acoustic instruments – the plaintive cry of the cello, in particular, giving voice to a song that is at the same time anguished in its sadness and overabundant in mysterious joy. This brief but forceful exposure to such splendour – with implausibly moving peaks in ‘Reaching When Nothing Is There’ and ‘About the Death of Stars’ – will certainly leave the listener wanting for more, and, as in the case of this listener, will lead to scores of replays followed by as many moments of wonder. I don’t think I have ever been so moved by an album before. ‘Sleep Stations’ has taken me completely by surprise, and I feel Dag Rosenqvist & Aaron Martin have achieved something next to miraculous here. Do approach it with reverence and - as the poet put it: ‘tread softly because you tread on dreams’. Razvan Porumb