Richard Youngs - No Purpose album flac
The track Forever Hills of Everyday from the album Core to the Brave by Richard Youngs in 2012. All images taken from Google via Jon Rafman
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Richard Youngs is a British musician with a prolific and diverse output, including many collaborations. Based in Glasgow since the early 1990s, his extensive back catalogue of solo and collaborative work formally begins with Advent, first issued in 1990
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Unless, that is, you're Richard Youngs. On May, he seems very content to while away the hours serenading the new bloomers and ancient, perennial warmth. Born in Scotland, Youngs' music can vary from experimental psych (last year he released a record with Acid Mothers Temple frontman Makoto Kawabata), to minimalist electronic, to traditional folk. Though he's as prone to use kazoo or detuned piano in his pieces as the acoustic guitar on this release, his releases generally hold the 'less is more' aesthetic in common. The songs themselves may have been improvised, as often the lyrics serve little purpose other than to have Youngs be able to say something while he sings. The final tune, "Wynd Time Wynd," uses its title as its complete lyrics, featuring but the smallest variation ("You wynd it all the time"). It's typical for this album, in that it has two parts: the first melody and the second melody. Based in Glasgow since the early 1990s, his extensive back catalogue of solo and collaborative work formally begins with Advent, first issued in 1990. He also released an album which was entirely a cappella
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Richard Youngs has done a whole lot of things, so it’s not often we get to bring you news of a Richard Youngs First, but here it is: Richard Youngs will be releasing his first album for Ba Da Bing! Records on September 3. Also a first - it’s a country record sure to top the charts at WPIG FM The Pig, one of America’s top country hits stations. Nothing like songs about pickups, whiskey, and the sweet love of a lonely woman to stir up the interest of the American public
Richard Youngs is a singular musician, for whom the description ‘unclassifiable’ comes in very handy. He has released an impossible number of albums over the last 25 years, and his collaboration list is a pocket guide to a persistent, shamanic strain of alternative British music. In the past he has been claimed for free folk and improv, and the press release for this latest album, Belief, cheerfully quotes The Wire’s tongue-in-cheek attempt to pin him down as the post-punk autodidact’s post-punk autodidact. Put simply, he does what he pleases, and he knows what he’s doing