Posts Tagged ‘Ghostly International’

Mary Lattimore on Julee Cruise – Floating Into The Night

Next up on the dock for Hidden Gems is another favorite from this year. I caught Mary at Soundscape last year and her set was enigmatic in its depth and simplicity. She’s a master of using the harp to build emotive worlds and her latest record for Ghostly is one of the best records of 2018 for sure. I asked her to pick out a record that hadn’t gotten its due, a gem that despite merit doesn’t get fawned over as fervently as it should. She’s picked Julee Cruise’s debut LP, Floating Into The Night, a record that’s as much about atmosphere as it is about emotion. Seems like a perfect pairing to her own mastery of the same. While the record is forever associated with its most glaring TV and film associations, she tries to divorce it from its Lynchian moors and assess it on its own dreamy merits. Check out how the record came into her life and what impact its had on her own writing.

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Mary Lattimore

The harp has always had a precocious edge in contemporary music. But while the instrument is often used as a baroque folk accoutrement or as an ornamental touch on an otherwise fairly staid pop song, Lattimore uses the instrument to transport the listener to quiet pastoral hideaways perched on the edge of grand panoramic views. The harpist uses her chosen muse to combine classical sweep, subtle processing and field recordings to create crystalline worlds trapped in amber and nestled inside of rural hollows.

In some ways Hundreds of Days enters like a gorgeous minimal house perched on old farmland. The stark angles seem almost too crisp to touch, and though the bas relief cut against rolling hills and sparkling waters seem just slightly out of place with each other, its intended as an idyllic getaway. The problem being that the yoke of modernity is forced onto nature, dragging along the rigidity of city life with it. Hundreds of Days does in fact begin as a calm respite, a meditative retreat, but begins to skew just slightly off over time. As the album progresses that discord of the modern and the natural becomes more apparent, resulting in the warbles and darkening skies of “Baltic Birch.”

That song acts as a kind of break in the façade, the first drop into the water that sends ripples across the glass surface. Following the rationalization that there’s no forcing the two worlds together in harmony, the final track, unadorned and somber sweeps through like a sigh. Finally leaving behind the glass castle, this is where Lattimore communes with nature, faces mortality and finds peace. The record is nothing short of masterful and warrants a place on the list of modern composition high watermarks.

Support the artist. Buy it HERE.