Red River Dialect: New solo piece, soundtrack to an animation by Sarita McNeil

Wednesday, 9 July 2014

New solo piece, soundtrack to an animation by Sarita McNeil

Here is my second collaboration of the year with film-maker and animator Sarita McNeil. I'm really proud to have recorded the soundtrack to her final piece for her animation degree. It ended up happening because I arrived at her place in Bristol with a guitar, on my way from what used to be home to someplace else, and she didn't have a soundtrack. It's the first time I have composed something for the purpose of ornamenting a visual piece, and the truth of it is that I found some ideas, and then put this piece down first time, improvising, into an iPhone recording app. Thank you Sarita for that moment because it opened up a lot of activity and had a bright and strong effect on the recording of the new album which directly followed this experience.

FIG from Sarita McNeil on Vimeo.

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Press & Reviews

“fervid three-guitar + fiddle workouts. You could place them as an Anglo-celt analogue to folk-rock churners like Arbouretum and, especially, PG Six, though there’s something of The Waterboys circa “A Pagan Place” in there, too.” John Mulvey, UNCUT

“Red River Dialect are interesting in that they appear to fuse this traditional strain of inclusive, rabble-rousing folk rock with more adventurous, psychedelic influences that place them right at the genre's cutting edge… (they) are obviously neither bandwagon-jumping dilettantes nor finger-in-the-ear luddites, but experienced musicians and long-term enthusiasts whose fusion of styles is always in service of the song…

Awellupontheway fuses folk-rock's past with its future, carrying forward the energy, urgency and melody that has long served the form well, and merging it with the more experimental, avant-garde approach of some of our most exciting guitar bands… Red River Dialect is a language open to all.” The Quietus

“Morris’s songs, eight of them here, take the lilt and roll of British sea chanties and blow them into amplified, feedback-droning, violin squalling anthems. This is, no kidding, one of the best folk-derived, psych-filtered rock albums of 2012, a great hoary rampaging beast of a record that rakes bloody, violent claws through the symmetries of traditional folk.” Jennifer Kelly, Dusted Magazine.