Mary Lattimore – Hundreds Of Days - 2018 Ambient Electronic Classical - Gold Vinyl LP
Mary Lattimore – Hundreds Of Days
Ghostly International – GI-317
SMM – XXV
Vinyl, LP, Album Gold Vinyl
A1 It Feels Like Floating 11:31
A2 Never Saw Him Again 7:30
A3 Hello From The Edge Of The Earth 3:34
B1 Baltic Birch 9:32
B2 Their Faces Streaked With Light And Filled With Pity 2:43
B3 On The Day You Saw The Dead Whale 9:26
Cover – Becky Suss
Design – Michael Cina
Illustration – Eric Hurtgen
Mastered By – James Plotkin
Mixed By – Jeff Zeigler
Written By, Performer, Recorded By – Mary Lattimore
Download includes bonus track 'Wind Carries Seed.'
℗ + © MMXVII Ghostly International. Written, played, and recorded in the Mirin Headlands by Mary Lattimore. Mixed by Jeff Zeigler at Uniform Recordings. Mastered by James Plotkin.
Design and Type by Michael Cina. Flower illustrations by Eric Hurtgen.
Thank you to the beloved Headlands Center for the Arts, its staff and landscape, Rennie Jaffe, Ghostly International, Jeff Zeigler, James Plotkin, Becky Suss, Michael Cina, Timmy Hefner, Moog Music, Jason Schulmerich, Jeff Root, Meg Baird, and Charlie Saufley, Max Milgram, John Robinson, Alissa Anderson and Andy Cabic, Indira Allegra, my family, Julianna Barwick, Gabrielle Reed, Maria Gaspar, Nicole Lavelle, Rosali Middleman, Bobby McManus, Kate Brokaw, and the Pew Center for Arts Heritage.
( pitchfork) "The record began its life in a redwood barn on a hill overlooking the Golden Gate Bridge. During a two-month residency at the Headlands Center for the Arts in Marin, California, Lattimore experimented with electric guitar, piano, theremin, a semi-modular synthesizer, and, most importantly, her voice. By adding these new sounds to her trusty harp and looping pedals, she’s expanded the possibilities of her music. The six songs on Hundreds of Daysare the best she’s recorded so far.
The 12-minute opener, “It Feels Like Floating,” is a showcase for the progress she’s made. If Lattimore’s earlier songs were redolent of places she’d visited, this track is proof that she has the skill to build new landscapes with her instruments. Inhabiting the song is like being placed in some alien terrarium: She conjures the organic buzzes and clicks of everyday life with the reverb bouncing off her harp strings, but gaseous synthesizer hiss and a groaning theremin mutate that naturalism into something freakier. That wet and weird noise surrounds her beatific harp melody and peaceful hums and sighs. The combined effect of all these sounds is pastoral, spacey, and even a bit spiritual.
“It Feels Like Floating” sets the scene for the album’s best track, “Never Saw Him Again,” which foregrounds Lattimore’s fluttering, wordless singing as soupy synthesizer noise gives the composition depth and weight. Hardly the main attraction, her harp notes just float around in amniotic sound. At first, the song recalls the murky calm of Oval. But, halfway through, it starts to skip and distort, as if it were made of corroded magnetic tape. Then the tape gets stuck on fast-forward, catching the harp in its slipstream until Lattimore is plucking more quickly than any human could possibly play. For what is ostensibly an ambient song, “Never Saw Him Again” feels pretty thrilling.
Lattimore shows a darker side of the harp on “Baltic Birch,” mixing melancholic strumming with dramatic electric guitar flourishes. She even reaches for uncharacteristically heavenly, classical harp heights on the soothing “Hello From the Edge of the Earth.” What makes Hundreds of Days so special, though, is how often it hits ambient music’s sweetest spot—a place where the world slows down and the performer’s free-floating noise makes you appreciate everything around it.
Listening to the album’s closing track, “On the Day You Saw the Dead Whale,” while jogging in the park one morning, the piano chords and harp notes activated the sounds of the forest around me. The thump in my chest, the whistle of the wind blowing through the leaves, and my footfalls on asphalt all danced around her notes. In that moment, it was impossible to tell where Lattimore’s song ended and the world began.
Cover art © Becky Suss, Courtesy of the Artist and Jack Shainman Gallery, New York
Barcode and Other Identifiers
Label Code: GVL LC 47563
Matrix / Runout: 169797E1/A
Matrix / Runout: 169797E2/A