Double vinyl LP limited to 450 copies worldwide packaged in a gatefold jacket printed on uncoated stock with double sided insert, black inner sleeve, and free download coupon. Mastered by James Plotkin.
Ah, the canyons of the mind… how they echo and rumble. Here we have eight of them, some resembling long, exhausted songs, haunted by the sounds of small accidents and deep tremors; others are more abstract than that, no windy voice, no stretched out melody, just eerie soundscapes that evoke many things, all of them drowned. Felicia Atkinson can conjure up some mighty spacious ghost towns. Visions / Voices gathers three years of work, previously released as very limited run cassettes and cd-rs, now mastered by James Plotkin and published under the Umor Rex banner. It's cobwebbed attic contains an odd collection of subtly deranged and detuned musical instruments; a piano, a Celtic harp, some guitars, keyboards, electronics, and a female voice deeply lost in the woods… each of these elements sound like a morbidly sensitive tangle of strings, dust, raw nerves and ectoplasm. It all somehow feels both intimate and cryptic, like a most intimate crypt, yeah, or the x-ray of a blue open sky. After going out on a trip with this album, you might feel like saying “I’ve been to the land of Solitude. It is a sky made of gauze, crowded with ghosts.”
"With all the impressions that Visions / Voices might leave on you — disorientation, joy, diverging moments of memory, escape — the one that struck me most was a feeling of creative cataclysm. The need to create. This is an album that holds a reminder deep within its core of how joyful making music and art can be, not in some deep structural quest for a eugenics of sound, but in the rewarding work of the “experimental” as a process, rather than a delineated generic other…" - J Beige, Tiny Mix Tapes
"My favourite moments from “Visions / Voices” are the ones that sound like nothing else I could name — the best I could come up with for album anchor-point “The Owls” was an ensemble trying to play Steve Reich phase music in the dark, at half speed and in separate rooms, but even this image pales in comparison to the piece itself. Closing track “Badlands” is equally gorgeous, a drowsy voice muttering in sleep, off-set by brittle guitar and rumbling bass. […] this is very beautiful music, and label Umor Rex are doing the world a great service by bringing it back into circulation. Recommended!" - Nathan Thomas, Fluid Radio
"Atkinson’s approach is very different from track to track. Celtic harp graces the intimate and haunted “Badlands”. “This Impermanent Gold” emits a defininite Grouper vibe. “Hooves Drummed” expands like Fabio Orsi or Tim Hecker. “Franny” mimics the dread of Demdike Stare. […] Levitch poetically said small trees were planted in the shadows of skyscrapers, “to show us how much larger our illusions are than our true nature.” Visions/Voices is that little tree with so much to share if we only put an ear to it." - Nayt Keane, A Closer Listen
" [...] there's a certain indefinable quality to the album that makes it sound at once ghostly and achingly human. Electric drones, abstracted folk, and murky analog effects all make their appearances, but taken as a whole it is music of half remembered melodies, distorted dreams, and ominous presences. " - Ryan Potts, Experimedia
"The material meanders in a daze, lost in a half-demented reverie, its lo-fi character calling to mind kindred spirits like Loren MazzaCane Connors and Charalambides.[…] listening to Atkinson's music is a little bit like scanning the woods with a flashlight at night: an initially vaguely unsettling experience that grows progressively more eerie when one's imagination takes hold and all manner of spirits lurking in the shadows begin to materialize." - Ron Schepper, Textura