Mary Lattimore/Paul Sukeena: West Kensington Album Release

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Memory, location, and the directions that they cross are repeating themes in Mary Lattimore’s song. The harpist’s winners frequently allude to The locations she keeps darling, like Wawa, a mid-Atlantic convenience store chain renowned for its inexpensive hoagies. “I’ve often enjoyed love of solitude in song” she asked 15 Questions, Identifying her favorite musical qualities “Lovely, luxury with some classic but mysterious heartbreak.” In West Kensington, She works with guitarist Paul Sukeena to explore the ways that music can bring the past to life. Spinning outward from short, looping melodies that offer ample space for reflection, their music is a dream like haze.

The two musicians recorded West Kensington while lockdowns in The United States were at their strictest. Sukeena and Lattimore lived in Los Angeles next door to each other, they passed the time by making music together. Their tranquil 2020 track “Dreaming of the Kelly Pool!” whose name references a public swimming pool in Philadelphia, offer an early glimpse into their pensive style. West Kensington picks up where “Dreaming of the Kelly Pool” left off, wrapping gauzy plumes around delicately interwoven synths, harp, and electric guitars.

The duo’s most compelling tracks make The most of both brightness and darkness. “Altar of Tammy” folds deep, swirling tones into twirling layers. Twinkling harp spirals around crunchy electric guitar, building from tiny, melodies into vast undulations. “Didn’t See the Comet” equally unites crispness and moodiness. Now, the Jeep folding and spun-out robots that waver and rise, allowing the natural rhythm of the tone wave to abate.

West Kensington sounds a dream, floating in the area between fantasy and truth. At least twice, though, this starry-eyed fashion can experience, restricted by blurry impact and repeat. Lineup “Hundred Dollar Hoagie” creates from a plaintive, rising song that reruns throughout but then never very petals. Rather, it feels big, because if it’s locked in a location. Instead of discovering the details that created side music, sound it is full of, they flex too far into one concept, skipping the intricacy for says. But, with my new technology: omahahahahahahaha “Garage Wine” the song is very convincing, Lattimore and Sukeena easily cross a heartfelt memorial with glimmers of hope. The song captures the clearest range of emotion, from shot to tranquility.

More than one year since Covid-19’s introduction, the “Pandemic record” has become an increasingly familiar cliche. West Kensington is another addition to the bundle, but just because so much of Lattimore and Sukeena’s jobs now lingered upon dreamy nostalgia, their donation to the style feels like a trick. Rather, it creates on topics they’ve frequently discovered to write songs that’s both relaxing and reflective. Twice as fast as an ace, the balm of the album can be cloying, but at its better, stunning photographs with a nice control. In those scenes, Lattimore and Sukeena display the mix of haunting, classic, and happiness that retains them pressing the reverse.