Over the last few days there are have been a string of glowing reviews from the likes of the Sunday Herald ("it's impossible not to be blown away by songwriting that is musically precise and emotionally expansive"), the Daily Record ("A spell-binding album that you will struggle to leave"), Uncut (7/10) and the Scottish Daily Express (4 stars). There's also been a bit of airplay with BBC 6 Music and BBC Radio Scotland playing some tracks.
To provide some extra detail about the album and some of the recording sessions Dan has put together a little website - benthiclines.com. Take a peek when you get the chance, it's pretty fascinating.
A sound designer by day, Lyth began work on Benthic Lines some five years ago, his intention to record an album entirely outdoors. On rooftops and rowing boats, in forests and high streets, mountains and quarries, ruined churches and beaches, car parks and peat bogs. Anywhere really, as long as it was outside.
Having first had the idea while on a trip to Sierra Leone, Lyth quickly realised that it's one thing to daydream of such a plan whilst in the tropics and quite another to actually attempt it back at home in Scotland.
“I think some part of me took perverse pleasure in the thought of having to undergo some real physical exertion to make this record. I have also always been drawn to creative work that has taken a considerable amount of effort, and recording an album outdoors whilst living in Scotland with its devious climate seemed to fit the bill.”
Designed with love by graphic artist Sarah Lyth, the album arrives in a beautifully bound 60-page book and includes photos from the array of recording locations. Cover art from celebrated New York artist Matthew Cusick and an accompanying short story, Already Here, by talented Fifer Craig Rennie complete the desirable artefact that is Benthic Lines. So what has Lyth got to say for himself now that his affair with the great outdoors is almost over.
“After travelling, listening, recording and being constantly surprised over the course of four years and across four continents, what will really stay with me is not only all the wonderful sounds we heard (during the recording of Benthic Lines) but also the many inquisitive, open-minded and generous people we met along the way. But it wasn’t all romantic. It’s quite hard work transporting a drum kit to a remote derelict church or dragging a piano out of a small flat. There were broken mic stands, bleeding fingers and failing batteries. And there was rain, a lot of rain.”
