“Tumult In Clouds” – review + interview on Hartzine
“Dark Wood” – the song from “Tumult In Clouds” 2LP on 2012 Editor’s Picks at Electronic Beats
Tumult In Clouds joins the list of the best albums of 2012 on Notodo
TUMULT IN CLOUDS – album of the week on Norman Records
Review of Tumult In Clouds on International Tapes
Interview and The Mixtape for FIXE
5 star review of 80 Minutes of Funk on Norman Records
Review of The Statement on Norman Records
Article / Interview on Magic by Xavier Mazure
Feature on Le Monde
Review of The Statement on International Tapes
Review of The Statement on Mishka
Review of NEO PI-R on Mishka
Interview with Russel Walker of Pheromoans on WARD Magazine
Review of NEO PI-R on Norman Record
Review of Mars Is Heaven on Magic
Review of Mars Is Heaven on Foxy Digitalis
Review of “Mars Is Heaven” on Norman Records
Interview with Impose Magazine
Interview with Hartzine
Review of “Mars Is Heaven” on Hartzine
Review of NEO PI-R and short interview on Hartzine
Review of “Double Feature” on Hartzine
Review of “Double Feature” Foxy Digitalis
Review of “Double Feature” on Norman Records
“…Ela Orleans is a revelation. Both utterly timeless and of the moment…” Rough Trade
“…Ela Orleans makes music that sounds like it was recorded on tintype by Man Ray. Multi-layered and deeply personal, her songs create new symbols, built from prima materia…” Mishka Bloglin
“…a funereal anthem of treble and reverb which materialises in front of you like a faded postcard from a frozen tundra beyond the fiery sea- it makes us think of Nico…”20jazzfunkgreats
“…Orleans’s arrangements are lush, yet monochromatic as well; not black and white, necessarily, but a palette that revolves around only one musical hue. It’s a splendid one, though.” Dusted Magazine
“…it almost sounds like a transmission from some sort of oldies station from another dimension…” Foxy Digitalis
“…une radio magique captant les ondes hertziennes d’un autre temps, un jukebox hanté par une voix profonde et délicate …” Magic (France)
“Some may call her work difficult. But in truth, there’s nothing easier than allowing yourself to fall into its grace. She uses elements of pop, goth, new wave, and even bossa nova. Her songs no sooner slide into your consciousness then they’ve slipped their own skin. She’s really quite remarkable…”Their Bated Breath
“…The idyllic beach-house guitar conjured up an atmosphere all twilight and palm trees – a far cry from the stark onstage cluster of sampler boxes in a drafty warehouse…”Jezebel Music
(Sabrina Lessard for La Station Radar)
Hailing from Poland and currently living in New York, Ela Orleans has graced us with her musical generosity once again. Her latest endeavor Lost resembles a short histoire de l’amour, complete with instrumental soundscapes filling in the gaps between her narrative lyrics. In her low moan longing and sampled layers, Ela Orleans takes us into a demure, suave landscape where internalizing is required and desire untouchable except behind closed doors. Harmonies melt into the sweet longing to be wanted
and loved. The album flows like a film (what Orleans describes as “movies for ears”), each track constructing a different scene, at times through a screaming violin or through electronic dystopic swirls building the perfect background for her revealing lyrics.
The joy in listening to Ms. Orleans comes in her precise editing of verse and melody where she lures you into her dreamy marshmallow jungle while keeping you just on the cusp of euphoria, revealing itself as mature restraint or masochistic benevolence. As she sings, “I am lost without you,” you become lost in her voice, the antithesis of the verse, delicate and sweet, as if she is daring you to actually feel the sadness wrapped so eloquently in a simple melody.
On three of the tracks Wende K. Blass offers beautifully dense and spirited guitar riffs over the layers of sampled mayhem and harmonies giving the tracks fullness. The success of this pairing comes as no surprise being that Ms. Orleans has been involved in several musical collaborations such as Hassle Hound the Scotland/NY based trio who brought us heavy sampling and whimsical absurdity.
While maintaining her presence in the experimental/noise New York music scene, Ms. Orleans has participated in the BMI film scoring and mentorship program “Composing for the Screen 2009″
and has been a recipient of the NYFA immigrant mentorship program where she worked with renowned drummer Lukas Ligeti. With the many contributions Ela Orleans continues to make, there is a thread she weaves throughout the music, traveling in waves of melodic fragility and fierce honesty. As in any great work of art you are left wanting more, and thankfully for us this is just the beginning.
(Jerome Buchaca for La Station Radar)
Ela Orleans est une musicienne d’origine Polonaise qui signe aujourd’hui son 2 ème album sur la station radar. Un album incroyablement riche en émotion, la voix d’éla touche à chaque mot avec son timbre bien particulier que certain compare à Nico. elle écrit de magnifiques chansons, de “something higher” qui ouvre le disque à Lost qui clôture le disque, la magie s’opère à chaque fois, de ces intrumentales entêtantes avec le guitariste wende k blass à la beauté de Better Friends et Myriads… Ela Orleans est multi instrumentiste, elle joue du violon, de la guitare et utilise des vinyls de sa propre collection. Elle est à la fois nico, lou et john : un Velvet Underground qui aurait ouvert la fenêtre en grand en direction de l’europe et de l’afrique…
(by Barry Burns for “Setola di Maiale”).
Ela Orleans is a Polish musician now based in Brooklyn, having arrived there by way of Glasgow. She is a member of heavenly pop collagists Hassle Hound, has played with various luminaries of the New York experimental and noise scenes and is a composer for the theatre. This is her first solo album and it reflects the diversity of her collaborations and the places she has called home. Haunted by all the best musical ghosts, High Moon Low Sun paradoxically and simultaneously merges the melancholic and the joyful like the first kiss from a new lover at a rain swept funeral. This complicated loveliness has Polish fuzz blues casually mingle with the jaunty but melancholy deep-sea organ and liquid rhythm of drip-hop, and flirts charmingly with elegant European doo wop. A slow buzz, eerie rattle and violin pluck mournful reveries. Surf guitar for the ripples on the stillest, pellucid sun-dappled ponds. Ela Orleans has a unique voice, gifting us fragile harmonies which are exquisite without being sentimental. She is Moondogmatic in her intransigent commitment to producing compositions of subtlety and incongruent beauty. These are polysemous confections which make you feel that you are listening to pop music for the first time again.
(Time Out NY).
“Polish artist Ela Orleans views the world of song through a cracked lens, recycling vintage-pop samples into haunting sound assemblages…”
P. Somniferum for Foxy Digitals (22 July, 2009)
This is a dynamic, versatile, enthused and crazed subliminal music. This is not noise. This is sound which reflects life in all its varied intricacies, its beauty and despair. It’s also music which addresses music and music alone—with only musical concerns: sound, timbre, phase, voice, language. An absolute treat not to be missed, Skitter with Ela Orleans better be heard by those who care. And pay attention. Close attention.”
Marco Carcasi for Kathodic
Registrato fra il 2007 ed il 2008 a New York (città dove vive da anni, dopo aver lasciato la Polonia), questo primo lavoro di Ela Orleans, stupisce, per qualità e varietà, di soluzioni e suggestioni. Ela Orleans, è nome intercettato con i pop Hassle Hound, che potrebbe far sobbalzare non pochi e non poco. Indaffarata, fra teatro, ed intrecci con la scena noise/sperimentale della grande mela, spiazza e confonde piacevolmente. Da violino, chitarra elettrica, voce, pianoforte, campionatore, sei tracce, e la sua collezione di dischi, strizza fuori undici brani, che passano disinvoltamente, dal pop vintage al kraut, dal minimalismo di deriva storica ad una visione di frontiera, folk e sottilmente sballata e lisergica. Bello veramente!
Echi singolari e suggestioni importanti. Ad occhio e croce, Can, Steve Reich e Terry Riley, Robert Wyatt ed i Faust, i Velvet e gli Stereolab, Zeena Parkins, Syd Barrett, il surf e gli Opal.
Dell’altro, che resta impigliato sulla punta delle dita. Dall’enigma circolare dell’iniziale Low Sun, passando per la svagatezza di Elegy, i vagabondaggi malinconici sotto un sole calante, di Four, Pattern In Situation (strepitosa e di commovente midolloWyatt), Time Machine, le discese sospese, alla Tuxedomoon di High Moon, il quadro esposto, risulta sempre sfuggente e zeppo di idee intriganti, martellate in low fidelity. Dice di se stessa: Sono ispirata dalle onde radio, dal rumore ambientale, dalle conversazioni, dalla routine quotidiana, dalla letteratura e dalla fisicità di suonare uno strumento. Tutto vero, aggiungerei, il miagolio dei mici in amore, ed il martellare del ritmo cardiaco nelle orecchie, ascoltato in una giornata afosa, con i grilli di sottofondo.
Una delle più singolari uscite in casa Setola Di Maiale. Fra le più belle e sbiellate. Malinconia, sottilmente ironica e saltellante. Da ascoltare e riascoltare.
There’s a very real skill in making an album sound as eclectically irreverent as Limelight Cordialwithout it descending into a sticky mess of half-baked ideas and breached taste boundaries. Hassle Hound have got the skills to pay the bills… Following a couple of releases through Twisted Nerve, the three-piece Hassle Hound (Ela Orleans, Tony Swain & Mark Vernon) have managed to pin-down their wandering creativity to produce an LP that contains more ideas per minute than most groups manage in the spells between rehab. Seemingly undeterred by usual considerations of what does and doesn’t go together, Limelight Cordial opens through the Goons Show-meets-Four Tet of Anvil Stamping Stallion – a song that somehow fuses the sound of horses hooves, delicate guitar and telephone chatter into an emotionally rich four minutes. From this, the mood is immediately flipped for the string-lashed The Night Of The Great Season (a song which flirts a bit too heavily in Lemon Jelly territory), before the fabulously odd Farce Of Dusty Knee massages Brazilian percussion, mournful swipes, surf guitar and ‘ye-haw’ vocal samples into a gleeful flash of expertly balanced joy. Elsewhere, Star Lantern And Two Mice is a brittle coalition of fizzing electronics and mealy instrumentation, ‘White Roads’ points to where Air might be had they discovered Vasti Bunyan, whilst Primrose takes The Avalanches only good idea and makes it better. To the power of twenty. Sniff it out!”
Reviewed by Brion Paul for XLR8R
Ramshackle Glaswegian sound collectors Hassle Hound finally bring the post-folktronic, cut ‘n‘ paste, strummy-hummy jams on this impossibly blessed full-length. With neighing horses, boinnnng-ing springs, and flamenco and psychedelic guitars, Hassle Hound is the musical equivalent of a Valhalla-esque flea market crossed with a super-group of every charismatic, story-hoarding uncle the world has known. Moreover, the depth and breadth of samples layered in among the exquisitely crafted songs almost makes this a train-hopping, long-haired hippie cousin of The Books.”
“… benign tornado, roaring and twisting through the best and most eclectic of record collections, ripping out and tearing off ideas and samples. They plunder for a reason — to make fragile and lovely music, often charmingly odd but with a gleeful melancholy, off-kilter but on the ball. There is a childlike quality to their music, but the child in question must be a musical prodigy with a wry sense of humour and a maturity beyond his years. They are not afraid to be beautiful. Machines and beats are caressed into soft humanity by delicate vocals, the boisterous cuddle of eccentrically-played instruments and ingenious guitar patterns. Here are wistful love songs which also sound like the greatest James Bond theme ever (if those films had ever been made by a 60′s new wave Czech director). Cartoon oneirics slapstick their way across lush countryside and toddle through town, favourite-uncle drunk and beaming expansively. Trying to pin them down is like drinking beer with a fork. They coin new genres like other bands do sound checks — too much funky not enough, crofter dub, genial noise, surf and turf guitar, carousel gothic, collagetronica. If Harry Partch had made music for ice-cream vans it might have been like some of these affable inventions.