On these hazy evocations of another time and a mischievous
subversion of the ambient genre, LA-based Laurel Halo takes only the merest
suggestion of jazz standards and ingeniously manages to create something simultaneously
relaxing, perplexing and disorienting.
Played at low to medium volume, Atlas creates a mysterious
ambient soundscape. At higher amplitudes
the detail of Halo’s compositional ideas and creative approach to production and sampling come to the fore of this
dense but rich confection. Plus, there
are contributions from Lucy Railton on cello, James Underwood on violin,
saxophone by Bendik Giske and the vocals of Cobey Sey spread over the ten
pieces presented here. These “natural”
elements help solidify the music into a seamless fine aggregate coating every
surface of our existence. I used it daily
as an effective relaxation tool for a couple of months back in the summer. Having moved on in lightyears from 2015’s dubstep-filtered
In Situ or her cinematic compositions on Raw Silk Uncut Wood from
2018, I feel Halo is developing an important catalogue – her recent release Octavia
(INA / grm) is a composition for piano and electronics – a way of truly seeing/hearing
the past in new and bewildering detail. Pretty
special, and unmissable.
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