Faten Kanaan – Diary of a Candle
Fire Records
- 1Faten Kanaan - Afternoon
- 2Faten Kanaan - Celadon
- 3Faten Kanaan - Tsukumogami (Sensu)
- 4Faten Kanaan - Book of Changes
- 5Faten Kanaan - Supercore
- 6Faten Kanaan - Acorns
- 7Faten Kanaan - Soseol
- 8Faten Kanaan - Alcoyana-Capri
- 9Faten Kanaan - Scene for a Wooden Room
- 10Faten Kanaan - Sondol Baram
- 11Faten Kanaan - Barjees
- 12Faten Kanaan - Naming the Cloud (Version 2)
FIRELP807
•
Open edition
Fire Records 2025
Minimal and nuanced, Diary of a Candle is a consoling, melodic suite from acclaimed experimental composer, musician, and producer Faten Kanaan. On this album Faten uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic. From the repetitive structures of modern minimalism and early music/baroque influences – to more languid textural ebbs and tides, there’s a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music creates its own world – one that isn’t easily categorised.
Diary of a Candle is punctuated with tender woodwinds and richly-layered strings, touched by the hazy atmospheres of 1970s/1980s films. Its understated heart-on sleeve romanticism follows the rhythm of nature: it bends in the breeze, drifts through the air, and settles on the ground. The ambiance is not an escapism, but the re-focusing of a lens through which humans are no longer the protagonists. Instead, a landscape’s intimate details become the central figures.
With the sparseness of Hiroshi Yoshimura’s 1982 album ‘Music for Nine Post Cards’ as a starting-point influence, Faten’s music exudes a wistful yet hopeful sentiment, honouring moments of beauty in the world around us. Some of the album titles are inspired by East-Asian rites and folkloric superstitions, often related to nature.
Minimal and nuanced, Diary of a Candle is a consoling, melodic suite from acclaimed experimental composer, musician, and producer Faten Kanaan. On this album Faten uses counterpoint as a narrative tool to create music that is mysterious, smudgy, and deeply melodic. From the repetitive structures of modern minimalism and early music/baroque influences – to more languid textural ebbs and tides, there’s a warmth in her use of synthesizers that gives her work a curiously timeless feel. Composing intuitively, her music creates its own world – one that isn’t easily categorised.
Diary of a Candle is punctuated with tender woodwinds and richly-layered strings, touched by the hazy atmospheres of 1970s/1980s films. Its understated heart-on sleeve romanticism follows the rhythm of nature: it bends in the breeze, drifts through the air, and settles on the ground. The ambiance is not an escapism, but the re-focusing of a lens through which humans are no longer the protagonists. Instead, a landscape’s intimate details become the central figures.
With the sparseness of Hiroshi Yoshimura’s 1982 album ‘Music for Nine Post Cards’ as a starting-point influence, Faten’s music exudes a wistful yet hopeful sentiment, honouring moments of beauty in the world around us. Some of the album titles are inspired by East-Asian rites and folkloric superstitions, often related to nature.
