Will the good times never cease? Philly harp legend Mary Lattimore continues her endless slew of good releases with Hundreds of Days, her second for Ghostly. Exploring the alien feeling that gets pronounced when you leave home, her plucks offer microcosmic and resonant ways to work your way through unknown spaces.
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Bless the sky and the sun and all the people I’ve ever known because there’s a new Mary Lattimore record. Things are never quite as good as they are when this drone harpist puts out a new record of strums, arpeggios and loops, and ‘Hundreds of Days’ counts among the best crop of her work, a startling but subtle record that both retains and progresses her sound in the same flick of the switch.
I should preface by saying, like, wow: Lattimore could maybe start an Earth tribute band. Prepare to be struck down from this otherwise gorgeous listen with “Their Faces Streaked with Light and Filled with Pity”, where she wields an electric guitar against her harp, meandering scorched, delaying tones and wisps of sound effects against a lamenting, scattering harp melody. It brings to mind the darker recesses of her sound, as heard in her work with Jeff Zeigler. As always, there’s comfort from within the dread, a sense that both can hold hands with one another.
Lattimore’s music has quite simply evolved; the shift is gradual, not dramatic, like it’s slowly rising into new shapes. “On the Day You Saw the Dead Whale” is a gorgeous mix of choral drones, echoing piano melodies and the usual harp strums, as symphonic as a Lattimore tune is going to sound, full of morning air. It’s a record that seems to slowly open up, taking indoorsy chamber ruminations and bringing them out to a cliff-face landscape. Evocative and centering at the same time, this is still Lattimore through and through.
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