I Thought It Was Us But It Was All Of Us
CST094      CD 180gLP MP3 FLAC

"Crafted with immense care, Foon's recording eschews dramatic dynamic contrasts for a subtler brand of entrancement and features music of integrity refreshingly free of affectation or trendiness. The album's natural tone manages to feel both intimate and epic."

"You may hear more immediate LPs this year, but few will likely surpass the beauty Foon and friends have created here. Blending lo-fi analog intimacy and judicious electronic elements, Saltland teems with lush textures that conjure all manner of dream states in an LP made for late-night listening. Foon’s cello plays a key role throughout via its adaptable sonority, one comprised of a commanding percussive presence as well as its better-known rich and melancholic indigo tone. But it’s by no means the limelight-stealer. Thompson’s beats and percussion, and the signal processing he and co-producer Marc Lawson (Arcade Fire) apply, saturate and refract (often simultaneously) the sonic atmospheres to marvelous effect."

"An intricate, ghost-thin spider-web that fuses many different musical genres into one – the only element they share is they all fall under the dark of night. Beautifully arranging the musical strands together with caring fingertips, Saltland effectively link these many stylistic thoughts until they are left as one, dark entity living amongst the corners of thin, silver threads... I Thought It Was Us But It Was All Of Us sparkles with an amazing amount of courage."
Fluid Radio

"Hallmarked by swirling, reverb-soaked strings, à la Set Fire To Flames, and dreamlike, filmic chamber movements reminiscent of early Silver Mt. Zion and Esmerine. Foon's voice [is] an instrument of somnolent, gossamer allure which floats gracefully amid the eddying, amniotic music."
Mojo [4/5]

"An intricate and understated approach, blending soft, tender vocals with strings, drones and electronica...which showcase Mark Lawson’s masterful engineering. Foon’s hypnotic vocals are intoned against a backdrop of seamlessly-mixed live and electronic percussion, delayed guitars, and droning strings; the whole merges dreamily into a single horizon, recalling the lush textures of Tara Jane O’Neil."
The Skinny [4/5]

"A really beautiful album which marks a recent high point in Constellation’s output, which is high praise indeed. It is an album that is far more than the some of it’s parts, bringing together elements of folk, jazz, chamber, and (post) rock. It is a record that will charm you, relax you, encompass you, and maybe even disturb you."
Backseat Mafia

"The successful combination of ghostly vocals, elaborate strings, and raw percussion on I Thought It Was Us But It Was All Of Us evokes a vastly unique natural world, for which the album art is a perfect match. Undeveloped, sparse, and somehow beautifully desolate, the album’s environment is nature uninhabited, mysteriously captivating in an unnerving and exciting way."
Redefine Magazine

"The compositional style may be classical, but the delivery is modern and mesmerizing...Foon turns out to be a surprisingly sweet singer, one whose voice itself is a lozenge. The most effective tracks offer a balance between voice and cello, with neither overshadowing the other.”
A Closer Listen

"There's certainly a menace to I Thought It Was Us But It Was All Of Us, but it's a subtler one than anyone familiar with Foon's previous work will be used to. The shadows here are cast by way of juxtaposition, talk of things that 'echo through the darkness' as on 'ICA' made ominous only because the song it sits within is actually a rather gentle, almost catchy little number…The album's trump card is its ability to transcend folksy drone by dipping its toes in to metronomic percussion, electronic programming and signal processing."
The Quietus

"With Foon's hushed vocal tones and the layered production, there is a dreamlike aspect to the sound and a familiar quiet melancholy, but the subtle details and breadth of instrumentation give a satisfying depth and texture, and the dynamics of tracks like 'I Thought It Was Us,' featuring the squalls of Colin Stetson's saxophone, and the rousing vocal-led 'Colour The Night Sky' lift the album to a flowing strength."

La LechuzaEsmerine  CD / 180gLP / DL
13 Blues For Thirteen MoonsThee Silver Mt. Zion Memorial Orchestra   CD / 2x180gLP / DL
Horses In The SkyThee Silver Mt. Zion Memorial Orchestra   CD / 2x180gLP / DL
The "Pretty Little Lightning Paw" EPThee Silver Mountain Reveries   CD / 180gLP / DL
"This Is Our Punk-Rock" Thee Rusted Satellites Gather + SingThee SIlver Mt. Zion Memorial Orchestra   CD / 2xLP / DL
Born Into Trouble As The Sparks Fly UpwardThee SIlver Mt. Zion Memorial Orchestra   CD / 2x10" / DL

Saltland is the new project led by Montreal-based cellist Rebecca Foon, best known as a founding member of contemporary chamber group Esmerine and a former member of Thee Silver Mt. Zion and Set Fire To Flames. Foon began composing solo work in 2010, featuring multi-layered cello and hushed vocals at the intersection of drone, no-wave, improv, dream-pop and minimalism. Joined by Jamie Thompson (Unicorns, Esmerine) on miniature percussion, programming and signal processing, Foon's live performances in Montreal and abroad over the past two years have seen her sound progress towards gently rhythmic and electronic territory as well. She has transfixed audiences with this new music while sharing the stage with Mary Margaret O'Hara, Julia Kent, Nat Baldwin and Sam Amidon, among others. As her largely home-recorded debut album began taking shape throughout 2011, with numerous guests contributing to various pieces, Foon adopted the Saltland moniker for this work.

I Thought It Was Us But It Was All Of Us is a beautifully restrained debut album that telescopes the directness and economy of Foon's compositional and vocal styles into lush, twilight atmospheres aglow with luminescent tendrils and flickering particles. Foon sings of childhood innocence lost, of tender utopic reveries and downcast dystopic horizons, and the search for soft, stoic strength in a darkening, devolving world. Foon’s voice is discreet but defined, drifting on buoyant currents of sound sourced from her plucked and bowed cello lines, in most cases propelled by Thompson's bespoke percussion and understated programming/processing, with touches of guitar, bass, horns, woodwinds, strings and backing vocals added by a cast of supporting players. The record unfurls like a gauzy flag in a restless breeze at dusk: a delicate, resolute sentinel set against the fading light.

The album's ambience also owes much to the work of Mark Lawson, the award-winning engineer (Arcade Fire) who collaborated closely with Foon to record and mix these songs at Six Saint V, her apartment studio in Montreal. Lawson, along with friend and percussionist Thompson, helped to forge a balance between lo-fi intimacy and shimmering breadth with these recordings, remaining faithful to the all-anologue instrumentation of the source material while judiciously deploying signal processing strategies to subtly refract, saturate and expand the sonic landscape. With contributions from Laurel Sprengelmeyer and Jess Robertson (Little Scream), Mishka Stein (Patrick Watson), Colin Stetson (Bon Iver), Sarah Neufeld and Richard Reed Parry (Arcade Fire) among others, Saltland offers up an unassumingly immersive debut album of searching songs that blend several core influences into a distinctively naturalistic sound. Saltland stakes out an unaffected, meditative, clear-eyed and earnest space where minimalism, dream-pop, drone, shoegaze, confessional folk, chamber music, and ambient/electronic coexist and coalesce.

Release date: 14 May 2013
Running time: 38:32

Packaging notes
CD comes in a custom gatefold jacket printed on 100% recycled paperboard in 4-colour process. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight gatefold jacket printed in full-colour process .

1. Golden Alley
2. I Thought It Was Us
3. Treehouse Schemes
4. Unholy
5. But It Was All Of Us
6. Colour The Night Sky
7. ICA
8. Hearts Mend

Rebecca Foon: Voice, Cello, Pump Organ
with Jamie Thompson: Drums, Percussion, Programming

Mishka Stein: Bass (2, 3, 4, 5, 6, 8)
Laurel Sprengelmeyer: Guitar (1, 3, 8); Backing Vocals (1, 3, 6, 7, 8)
Jess Robertson: Bass Flute (1, 3, 8); Backing Vocals (1, 3, 7, 8)
Sarah Neufeld: Violin (1, 8)
Colin Stetson: Saxophone (1, 2)
Richard Reed Parry: Guitar (4); Backing Vocals (3, 7)
Kaveh Nabatian: Kalimba, Trumpet (4)
Bruce Cawdron: Glockenspiel, Percussion (6)
Alex Chow: Violin (7)
Sarah Pagé: Harp, Dulcimer, Backing Vocals (7)
Mathieu Charbonneau: Keyboard (8)
Mark Lawson: Keyboard (6); Programming (1, 8)

Composed by Rebecca Foon.

Produced by Mark Lawson and Rebecca Foon.
Recorded and mixed by Mark Lawson at Six Saint V and The Pines in Montréal.
Additional recording by Martin Horn. Additional mixing by Jace Lasek at Breakglass in Montréal.

Mastered by Ryan Morey.

Back/inside photo by Brad Todd.