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Leave Corners

by Aquarelle

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Cut Stone 04:12
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Brass Logic 06:56
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Intervals 03:41
6.

about

An album many years in the making, Leave Corners is the 4th full length LP from Ryan Potts’ Aquarelle project. The album finds Potts developing his sound largely without the use of his standby instrument of the guitar, instead focusing on his interest in other stringed instruments and their interactions with feedback and distortion. Because of this new focus on sine waves, strings and feedback, the album opens with “Open Absence pt. 1” which serves as an overture of sorts. A peek into the new focus for the project. Then, almost as a nod to his past, the album bursts forth with the most “classic” Aquarelle track of the album “Open Absence pt. 2”. With its layered guitar and half buried crackling and rattling percussion it is almost the apotheosis of the styles from his previous stunner Sung in Broken Symmetry. The rest of the album expands the palette mightily, diving into saturated walls of subtly oscillating tones (“Cut Stone”), cyclical chimes and cello phrases (“Brass Logic”), and the haunting smoky strings of the closer “The Horse Has Run”.

The album artwork for Leave Corners, created by Hannah Devereux, features fine, intricate lines that collide in subtle fashion which Ryan felt resonated heavily with his own vision of the album.
- Samuel Melancon, Debacle Records

credits

released September 27, 2017

Composed, arranged and mixed by Ryan Potts
Feedback, sine waves, electronics, piano, organ, vibraphone, guitar, contact mic, percussion

Cello by Brandon Wiarda
Piano on Brass Logic by Kenyon Rosewall

Remastered by Sean McCann
Original Masters by Thomas Wincek
Artwork by Hannah Devereux | hannahdevereux.com

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about

Aquarelle Minneapolis, Minnesota

With the Aquarelle moniker, Ryan Potts explores a cross-section of feedback-generated experiments, acoustic instrumentation and layered sine waves. These sounds are folded together with meticulous editing to form pieces that have equal interest in stasis and movement, clarity and obscurity. ... more

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