Chalk Hill Blue is a record of electronic ruralism channeling lives threaded through the chalk landscapes of Southern England. Will Burns is Caught by the River poet-in-residence, and Hannah Peel
Chalk Hill Blue is a record of electronic ruralism channeling lives threaded through the chalk landscapes of Southern England.
Will Burns is Caught by the River poet-in-residence, and Hannah Peel is a frequent fixture of Caught by the River festival stages – both with the ‘cosmic colliery’ electronica of her solo work, and with orchestral place-rock band The Magnetic North (of which Chalk Hill Blue producer Erland Cooper is also a member.)
As part of their collaboration, Burns, Peel and Cooper walked the landscapes around Burns’s Wendover house together: their chalk-heeled boots tracing shared routes through the rhythms and repetitions of the place. What emerges in Chalk Hill Blue is a site-specific-non-specific record of creative place portraiture; an album that traces elements of a living landscape, and reworks them into something that is as sensitive and finely-observed as it is visionary.
Burns’s words and Peel’s sounds – deftly fused by Cooper’s sympathetic production – channel the minute shifts in the air and atmosphere of a place, and their resulting emotional effects. The spoken words and sound worlds on Chalk Hill Blue often seem to emerge from subliminal processes of call and answer; a fertile blurring of collective inspiration and intention circling this abstracted chalk landscape.
Perhaps if Delia Derbyshire’s later years in Cumbria had been happier then a record like this might have emerged from the fells, or alternatively if Virginia Astley’s gardens had contained a modular synth or two. Other triangulation points might include Hans Joachim Roedelius’s bucolic kosmiche reveries, Joanna Brouk’s new age minimalism, or James Yorkston’s ambient spoken word experiments. Like the butterfly with which it shares its name, Chalk Hill Blue is a rare thing: a glorious electric pastoral shimmer.
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