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Continuums

by Jackie Denardo

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  • Streaming + Download

    Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Three bonus tracks exclusive to Bandcamp download or CD purchase, plus exclusive artwork and photos.
    Purchasable with gift card

      £4 GBP  or more

     

  • Compact Disc (CD) + Digital Album

    A limited run of 50 copies in recycled brown manila printed card wallets. CDs are signed and numbered. Bonus tracks are included on the CD.

    Includes unlimited streaming of Continuums via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
    ships out within 7 days
    edition of 50 
    Purchasable with gift card

      £6 GBP or more 

     

  • Full Digital Discography

    7
    releases

    Get all 7 Jackie Denardo releases available on Bandcamp and save 50%.

    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Down the Street (Rejected), Up The Road (Revise and Resubmit), Declinism, Desire Lines to Nowhere, Terminally Climactic Forms, Meal Deals and Real Feels (Cities #1), and Continuums. , and , .

    Purchasable with gift card

      £11.50 GBP or more (50% OFF)

     

1.
Continuums 05:35
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2.
Ammil 03:52
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3.
Apophenia 03:59
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4.
Duck and Cover 07:26
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5.
Corpse Reviver 06:24
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6.
Tan-4-Tan 04:23
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7.
When Hope Is All We Have Left 13:41
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8.
When All We Have Left Is Hope 04:17
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about

Debut album from Glasgow-based electronic artist Jackie Denardo. A distillation of seemingly disparate musical styles to create something that borders on being new.

Broadly speaking, the goal at the outset was to create drone-filled, ambient music; to create some really sparse, minimal songs that let your mind wander and are well-suited for tuning in and out, depending on the attention the listener opted to allocate to listening to those songs. Then I read a quote from Brian Eno on ambient music, something that he knows a thing or two about: “Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.”

Despite agreeing with him completely, I thought it would be more interesting to adopt a different approach. That is, to lure the listener in with what resembled ambient music, conforming to Eno’s maxim, but to integrate a wide range of influences to peak the listener’s attention at times and make them snap out of simply hearing the songs, rather than actually listening to them.

What you will find on this album are songs that evolve slowly, morphing in ways that are both intuitive and unexpected depending on both your familiarity with the musical influences and how much attention you allocate to listening.

It’s electronic music, but you will find instrumentation that’s more typical of so-called ‘rock music’. You will find swirling, reverb-soaked guitar chords and delay-laden notes akin to shoegaze and post-rock. Percussion veers from dancefloor techno, to slow trip-hop, fast drum and bass, and pounding industrial. Bass is minimal, and you might not always notice it. Sometimes the songs border on silence. You will find all of these things – and more.

More background:

I was fortunate to form my musical preferences in the 90s, which was a bumper decade for mainstream pop artists defying conventions and expectations. As a teen in the the latter half of the 90s, and early 00s, I fell in love with Smashing Pumpkins’ Mellon Collie and the Infinite Sadness’, Beck’s ‘Odelay’, Primal Scream’s ‘Vanishing Point’, Bjork’s ‘Homogenic’, The Prodigy’s ‘Fat of the Land’, Radiohead’s ‘OK Computer’, Spiritualized’s ‘Ladies and Gentlemen We are Floating in Space’, Massive Attack’s ‘Mezzanine’, UNKLE’s ‘Psyence Fiction’, REM’s ‘Up’, Nine Inch Nails’ ‘The Fragile’, Leftfield’s ‘Rhythm and Stealth’, Primal Scream’s ‘XTRMNTR’, Rage Against the Machine’s ‘The Battle of Los Angeles’, Moby’s ‘Play’, The Chemical Brothers’ ‘Surrender’, Sigur Ros’ ‘Ágætis Byrjun’, Godspeed You! Black Emperor’s ‘Lift Your Skinny Fists Like Antennas to Heaven’, Deftones’ White Pony’, Gorillaz’ ‘Gorillaz’, Mogwai’s ‘Happy Songs for Happy People’ and countless others albums that made quite the impression on me. No single album affected me in quite the same way as Radiohead’s ‘Kid A’.

I of course backtracked on the bands and albums I had missed from being too young, with key works from The Jesus and Mary Chain, Sonic Youth, Galaxie 500, Pixies, Jane's Addiction, et cetera.

I single out all of these artists and albums above as they all sounded like nothing else I had ever heard at the time; there’s still nothing that sounds like Nine Inch Nails’ ‘The Downward Spiral’, and that’s after a further 10 Nine Inch Nails albums, plus remix albums, eps, stand-alone singles, and more.

These albums were eclectic, but all had an internal consistency that stopped them from feeling like a compilation. I couldn’t believe the singles from Beck’s ‘Odelay’ could all come from the same album. Were those live drums on The Chemical Brothers' ‘Let Forever Be’? And what of those glitchy, trip-hop beats on Bjork’s ‘Homogenic’? How could it be that they co-existed with lush strings? I was dumbfounded at the sheer length of songs from the likes of Godspeed You! Black Emperor and baffled that I found myself enjoying what could only be labelled ‘rap music’ on albums by Leftfield, Gorillaz and UNKLE. I didn’t really like rap music. On and on it goes.

I mention all of this as I hope it enhances your listening experience to know a bit more about the music that inspired this album.

credits

released April 2, 2021

Album also available on all major streaming platforms. Search 'Jackie Denardo'.

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Jackie Denardo Glasgow, UK

Glasgow-based solo electronic project. Glitchy, industrial beats underpin post-rock tinged techno, with shoegaze influences to create droney, ambient textures to score your sweetest dreams and your darkest nightmares. Best enjoyed in isolation, with headphones.

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