Bing And Ruth - No Home Of The Mind flac album

Recorded at Future-Past, New York. Mixed at The Motherbrain, Los Angeles. Mastered at Black Saloon, London.

Moore's next record sees Bing & Ruth working as a five-person ensemble (2010's City Lake featured 11 musicians, while Tomorrow Was The Golden Age had seven). 4AD say No Home Of The Mind explores "the piano's percussive qualities alongside running woodwinds, warbling tape delays and splattered upright bass lines that stare out with a wide-eyed transcendence, taking so-called 'classical' music to new limits. A series of Bing & Ruth live dates in Europe have also been announced, with shows coming in Berlin, Amsterdam, London, Paris, Brussels and Gent

Come 2017, Bing & Ruth is on the renowned 4AD with their third album, No Home Of The Mind. Gone are the cellos that underpinned Tomorrow Was The Golden Age and the guitar, vocals and feedback that punctuated City Lake. Moore strips the sound back to the core of his group: the entwined bass of Greg Chudzik and Jeff Ratner, Jeremy Viner's winding clarinet lines, the subtle tape manipulations of Mike Effenberger and Moore's piano. Combining the beauty of Harold Budd and Terry Riley mesmerism, the piano resonates front and center on No Home Of The Mind. On the first few listens, one.

It is no coincidence that the opening track on Bing & Ruth’s second album Tomorrow Was the Golden Age is entitled ‘Warble’, acting as their flag in the sand. Such warbling keys have made their way across two full-lengths since the band’s debut City Lake, and in No Home of the Mind that march has begun to form footprints. An identifiable something. Starwood Choker’, which opens the album, is wholly representative of this footprint. Those warbling pianos enter immediately and without apology, dancing around one another in the centre of the stage

Album · 2017 · 10 Songs. More By Bing & Ruth. See All. Tomorrow Was the Golden Age. 2014.

Bing & Ruth's third album and first one with a big label represents a new chapter in the ensemble's career with uneven crescendos and chords that remind you of soundtracks and galleries of art in their finest and elegant moments. I would say that I felt in between the nature and the modern world, mostly on the latter but it was an interesting feeling. My problem is that once I was settled in it felt like the album was lacking of new ideas, like sometimes I thought the record was on replay.

Bing & Ruth bridge classical music’s baroque showmanship and the heady sheepishness of ambient drone, riffing dizzily on the incompatibility between the two. At once structured and shapeless, the New York City ensemble’s third album, No Home of the Mind, is their strongest rendering of this incongruous and warped style. In the album’s most dazzling moments, which arrive cautiously amid arduous slabs of buildup, founding pianist David Moore constructs a swirling, hypnotic dialogue between forms of voiceless music.