When you operate as an interdisciplinary artist, it just might be convenient to operate under a number of monikers. And if the music you create is as diverse as your artistic interests, that just might be a given. Yet, when you do come up with an album that is created under your birth-given name, that just might be the instance when you reveal your personal essence.
With nine albums behind him, initially released in Germany, Sweden, Japan, and the United States, Fletcher Tucker decided to go very personal, intimate and natural with his latest album Kin. Using what could be named as ‘breathing’ instruments including Swedish bagpipes, pump organ, elder and bamboo flutes, Mellotron saxophone and flute tapes, featuring collaborations with a few esteemed friends – Phil Elverum (Mount Eerie), Mariam Wallentin (Fire! Orchestra, Mariam the Believer), Chuck Johnson, Sean Smith (LFZ), and Spencer Owen it is all what could be called natural soundscapes, devoid of any electronic add-ons or manipulations.
Of course, taking that route is like walking a thin line between ordinary, often mundane field recordings and quite enchanting music suited for deep listening (or meditation, if you will). Throughout the seven soundscapes presented here, Tucker firmly remains in the enchanting space, leaving all the mundane traps easily behind him.
