C.R. Gillespie‘s new album, Island Of Women, is out on August 29th, via Sound as Language. Following his celebrated releases on Séance Centre and Hidden Harmony Recordings, Gillespie crafts a deeply intimate and evocative record born from the quietude of the pandemic and new fatherhood. If you are new to Gillespie’s music, it has been likened to Bitchin Bajas, Harold Budd, Laraaji, M. Sage, and Hiroshi Yoshimura.
The album’s origins trace back to a chamber project in 2019, which was derailed by the pandemic. Gillespie, instead of abandoning the project, expanded upon his MIDI demos, meticulously coaxing an organic, humanistic sound from synthesized instruments. He infused these compositions with “gluey synth,” electronics, and field recordings, creating a rich textural palette.
Three singles have been released to date, and the intricately curious Idioglossia has beckoned me back for repeat listens.
The album title and much of its hazy, balmy atmosphere come from a family trip to Isla Mujeres, Mexico. This idyllic period of beach days and observing his daughter Frankie’s naps is captured in the album’s field recordings and musical sketches. Frankie’s presence is a subtle yet significant thread, woven into the abstract sonic tapestry. This is a far cry from the rigid minimalism of Reich or Glass. Instead, Gillespie channels the spirit of ”70s-’80s Italian minimalists like Franco Battiato and Lino Capra Vaccina. The result is a warm, breathable soundscape that speaks of isolation, discovery, and the profound beauty of newfound family life.
Listen to the latest single Cheudaddi: