If ever there were an artist who belied his tender years then that man would be 23-year-old Daniel Patrick Quinn who has now released two albums in a year, each of which contain music steeped in traditional values fully appreciative of Northern England surroundings which inform the textures of his work. In the case of 'Nine Standards Rigg' the tone is a little too earthy, the narration of a rock formation coming across like a lecture from a frustrated Geology teacher. It is the instrumentals which are most arresting; pastoral and lovely, 'The Tip Of The Iceberg' makes the most of Quinn's familiarity with trumpet, cello and strummed guitar whilst the use of drone on 'The Weight Of History' is like Dead Can Dance covering Bark Psychosis' 'Pendulum Man'. Certainly his ideas may be decidely "out there" but Quinn's feet remain firmly on English ground.
If ever there were an artist who belied his tender years then that man would be 23-year-old Daniel Patrick Quinn who has now released two albums in a year, each of which contain music steeped in traditional values fully appreciative of Northern England surroundings which inform the textures of his work. In the case of 'Nine Standards Rigg' the tone is a little too earthy, the narration of a rock formation coming across like a lecture from a frustrated Geology teacher. It is the instrumentals which are most arresting; pastoral and lovely, 'The Tip Of The Iceberg' makes the most of Quinn's familiarity with trumpet, cello and strummed guitar whilst the use of drone on 'The Weight Of History' is like Dead Can Dance covering Bark Psychosis' 'Pendulum Man'. Certainly his ideas may be decidely "out there" but Quinn's feet remain firmly on English ground.
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