![]() “Where Did You Go” and “Shameplant” open the record with wirey riffing that effectively employs subtlety to capture the humid melancholy of Sinai Vessel frontperson Caleb Cordes’s Southern home turf. Where those releases felt indebted to Japandroids or even pop acts like Fall Out Boy, GROUND ASWIM recalls Ben Gibbard’s rawest songwriting. GROUND ASWIM is a stark contrast to the raucous, mid-aughts radio rock-y electricity that defined Sinai Vessel’s first two endeavours, PROFANITY and BROKENLEGGED. With its pitter-patter dynamics and Southwestern sunset glow, it’s no surprise that it came to life at Texas’s Lazybones Audio, the same studio where Lomelda has recorded the bulk of her music. The second full length from the Nashville solo-artist-turned-three-piece-turned-solo-artist-once-again is a bleary slice of largely-unplugged emo that recalls records like Beck’s SEA CHANGE or Bright Eyes’ LETTING OFF THE HAPPINESS. GROUND ASWIM is a record I put on because I saw a number of people I respect posting about how excited they were for it, and posting with the type of emotive exuberance that makes me feel like I’m missing out on something. I wish I could claim to be a longtime fan of Sinai Vessel. You can find SPELLS on Bandcamp today via Leaving Records.įavorite tracks: “Where Did You Go,” “Shameplant,” “A Must While So Near,” “Birdseye,” “Guest in Your Life” In the same vein as Mary Lattimore’s excellent new record SILVER LADDERS, Nailah Hunter’s debut merges 18th century aesthetics and imaginative modernism to further propel a new renaissance for neoclassical music. However, where that soundtrack evoked the claustrophobic reflectiveness of a city’s financial district, Hunter’s harping somehow keeps even the EP’s synthiest moments transcendental and meditative. ![]() With their wiry FM synthesizers, “Enter” and “White Flower, Dark Hill” have a glistening, diamond-like ‘80s sheen that recalls Daniel Lopatin’s UNCUT GEMS score. SPELLS opens with mystical choral music and harping on the track “Soil: Song From Silence.” The piece almost has a flamenco energy that coyly peers through the pearly plucking of its strings, but the gregorian chant-y vocals that gently churn in the background make the track feel vaguely gothic and pastoral. Nailah Hunter carries on these traditions on her lovely debut EP, SPELLS, an 11-minute collection of ambient incantations that fit perfectly alongside her musical peers on the left-field jazz and experimental label Leaving Records. However, the legacies of artists like Alice Coltrane and Dorothy Ashby have ingrained themselves in the city’s musical lifeblood. With its strip malls, stucco, and beaux-arts architecture, cosmetically Los Angeles doesn’t seem like a city that would historically be the epicenter for avant-garde harp music. Bandcamp Picks for the week of 11/12/20 featuring Nailah Hunter & Sinai Vesselįavorite tracks: “Soil: Song From Silence,” “Enter,” “White Flower, Dark Hill”
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