BING & RUTH
Formed in the mid-naughts among music student friends at New York City's New School, Bing & Ruth's lineup has shifted with the scope of each recording. The group whittled down from the eleven players on their first album, City Lake, to seven for their newest, Tomorrow Was The Golden Age: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore's sublime yet resonant piano scores.
Outside of Bing & Ruth, Moore is also a multi-faceted composer, scoring under his own name and for old-time fiddle groups, which he describes as "drone-based with a lessened concern for perfect intonation." These ventures illustrate Moore's unpretentious devotion to various musical traditions, yet Bing & Ruth remains Moore's principal project, where form ventures even further beyond recognition.
"Tomorrow Was the Golden Age, one of the finest left-field releases of the year, transcends geography, inviting you to close your eyes and build your own richly detailed world." - Pitchfork (8,1/10)
"TWTGA takes us on a never-ending journey to a place where the sonic wall drifts imperceptibly from silence to grand, glowing sound, and leaves nothing behind." - The 405 (8,5/10)
"Jon Collin is the proprietor of Winebox Press – a UK company that makes some of the most incredible hand-wrought cassette packages ever... Winebox also puts out certain releases in "trade" editions, and Collin's High Peak Selections LP is one of the first. Acoustic string improvs of great abstraction, clanger and depth, recalling a certain vibe that Loren Connors once called his own, although there's no aping here. Lots of dizzy inventions of clustered strings that manage to maintain a certain melodic beauty for all their weirdness. There are even bits of wobbled slide and sustain that recall Fahey at his loosest. Totally boss." (Byron Coley, Arthur Magazine)
“This spine-tingling album by Jon Collin is six-string primitivism taken to a whole other level of wildness and intuition.” – Derek Walmsley, The Wire
“Across the four tracks on his second LP, Jon Collin reiterates his interest in mining the emotional potential of the guitar, utilising a vast grasp of the capabilities of the instrument... His grasp on the relationship between the resonant qualities of the hollow-bodied guitar and the wails of feedback and reverberation produced by the amplifier is extraordinary.” – Matt Krefting, The Wire
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