Sound Design provided by Michael at Big Ship. Available from New Amsterdam Records.
Selected press:
“…quietly devastating… a slipstream where electric guitar, chimes, strings, drum kit, and subtle electronic touches interchange fluidly” –Pitchfork (8.2/10 review)
“Worden’s pop-inflected vocal style, blended with the lush orchestral sound of the ensemble Signal, along with electric guitars, drums and deftly interwoven electronics by Michael Hammond, travels through a tapestry of settings and moods ranging from emotive and heart-wrenching to haunting and ethereal.” –NewMusicBox
“rapturous” –The New York Times
“…an intimate portrait of a woman who, like Homer’s Penelope, is confronted with finally getting what she’s wished for. The top-shelf new music ensemble Signal, directed by Brad Lubman, is equally at home with the electronics and electric guitars of the score as the conventional acoustic instruments.” –NPR (5 Best Genre-Defying Albums of 2010)
“The use of electronics is particularly artful here. Unlike other contemporary compositions that place electronic sounds at the forefront of the sonic palette (which is not necessarily a bad thing), Penelope utilizes electronic sounds only so far as they enhance the dreamlike prism through which Penelope views her predicament. Rather than dominating the mix, the electronics often add merely one more texture, imbuing the music with an intangible ambience that suggest the instability of her mental state.” –PostPostRock
“Kirkland’s dark-hued score is inventive and subtle, with a mix of watery, undulating strings, guitars, percussion and electronics that submerges you completely within the story.” –NPR
“achingly stark…easily the most beautiful album of the year” –The Indie Handbook
“[the] year’s most affecting creation” –Time Out New York (Top Classical Album of 2010)
Selected press:
“…quietly devastating… a slipstream where electric guitar, chimes, strings, drum kit, and subtle electronic touches interchange fluidly” –Pitchfork (8.2/10 review)
“Worden’s pop-inflected vocal style, blended with the lush orchestral sound of the ensemble Signal, along with electric guitars, drums and deftly interwoven electronics by Michael Hammond, travels through a tapestry of settings and moods ranging from emotive and heart-wrenching to haunting and ethereal.” –NewMusicBox
“rapturous” –The New York Times
“…an intimate portrait of a woman who, like Homer’s Penelope, is confronted with finally getting what she’s wished for. The top-shelf new music ensemble Signal, directed by Brad Lubman, is equally at home with the electronics and electric guitars of the score as the conventional acoustic instruments.” –NPR (5 Best Genre-Defying Albums of 2010)
“The use of electronics is particularly artful here. Unlike other contemporary compositions that place electronic sounds at the forefront of the sonic palette (which is not necessarily a bad thing), Penelope utilizes electronic sounds only so far as they enhance the dreamlike prism through which Penelope views her predicament. Rather than dominating the mix, the electronics often add merely one more texture, imbuing the music with an intangible ambience that suggest the instability of her mental state.” –PostPostRock
“Kirkland’s dark-hued score is inventive and subtle, with a mix of watery, undulating strings, guitars, percussion and electronics that submerges you completely within the story.” –NPR
“achingly stark…easily the most beautiful album of the year” –The Indie Handbook
“[the] year’s most affecting creation” –Time Out New York (Top Classical Album of 2010)