![]() I could listen to this on repeat all day and not get sick of it. It’s really intimate and you can hear the breath of the voice and the air passing through the saxophone being picked up by the mics. Like, do yourself a favour and have to listen to this! Each sublimely blended chord in the Max Slorach saxophone quartet feels like you’re easing into a nice, warm bath while Hannah’s voice just fits so perfectly on top. I can’t imagine what it must feel like as a vocalist to sing in this setting, with your tuning and pitch so apparent whilst still making choices about rhythm and phrasing on the fly – I get nervous just thinking about it! Luckily, Hannah is a total pro and has such a beautiful sound and style that you never have to worry.Įverything seems to culminate in the final track, Cheeks, in which as a listener, you feel like you’re eavesdropping on a deeply personal moment between two lovers. In a sense, this makes it a really high stakes musical situation, with each note contributed to the texture playing a big role in the final sound. ![]() There is a vulnerability to the music, where one note slightly out of place would be terrifyingly obvious. Songs like The Hour and Glacier leave a lot of space for the vocals to sit within the musical texture in a really exposed way. Built around unfurling rhythmic/melodic cells that collide amongst the different parts, the tracks seem to blend into each other allowing the listener to fully enter into Slippery’s magical world. There is a stillness to this music that relishes in its slow tempos and brooding characters. As the album plays on, each track feels like a world unto itself always managing to retain a consistent mood throughout.
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