Carmen Villain’s long and fruitful relationship with Smalltown Supersound spawns a third LP. On Both Lines Will Be Blue - the follow-up to the buzz-building Infinite Avenue - the Norwegian-Mexican artist delivers another set of peyote-hazed, fourth world psychedelia. New age, kosmische, dub and ambient music are all wrapped up in these languorous electronic compositions. The final results recall Inga Copeland.
Vinyl LP £17.49 STS349LP
LP on Smalltown Supersound.
CD £11.99 STS349CD
CD on Smalltown Supersound.
Well it turns out I don’t really know what dub is. Because when I listen to Carmen Villain’s latest album ‘Both Lines Will Be Blue’ it sounds like dub. But this is an album with barely any bass on it. And while that probably speaks to my lack of familiarity with the genre, I will say it was a pleasant shock.
It’s the sense of space that makes the album so dubby. The reverb on the drums, and the patient tempos. This is music that fills the space between your ears, and soothes what it finds. It does this with a gentle hissing ambience that is oddly reassuring, and drum sounds that have a lightness to them. These are joined by echo-y strings that feel very new-age, piano that’s so gentle it’s easy to miss, and the occasional natural sounding sample.
The most important instrument though is the flute. When it does appear it’s played by Johanna Scheie Oreliana as on opener ‘Observable Future’. While it weaves in and out of the rest of the composition, it sits proudly on top of everything, giving ‘Both Lines Will Be Blue’ a character that is sometimes stoic and sometimes cheeky.
Carmen Villain was conjured the most gentle trip in the world. This music is clearly has psychedelic influences but these are the sort that don’t threaten to turn nasty. Everything is warm and pleasant and under control.
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