Cruising (Laurel Halo Remixes)
After her work on the new MVO Trio LP, Laurel Halo redresses Bendik Giske’s enchanted sax experiments in a loping style of Rhythm & Sound gone 4th world on two killer remixes.
Heralding Giske’s album ‘Crack’ on the horizon, Laurel offers contrasting perspectives on its centrepiece ‘Cruising’ that speak to the unpredictable breadth and depth of her own style, both faithfully make use of Giske’s free, ribboning sax lines, but in quite different ways.
The first anchors Giske’s flighty expressions with heavy trodding kicks and wind-tunnel drag drums in a Rhythm & Sound meets Theo Parrish-style beatdown/hallucinatory dub, whereas the ‘Less’ remix vanquishes the groove to leave Giske’s reprocessed sax swept into every corner of her wider screen settings, underlined by Burial-esque crackle and also recalling Alex Zhang-Hungtai solo affairs. Dead strong this.
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After her work on the new MVO Trio LP, Laurel Halo redresses Bendik Giske’s enchanted sax experiments in a loping style of Rhythm & Sound gone 4th world on two killer remixes.
Heralding Giske’s album ‘Crack’ on the horizon, Laurel offers contrasting perspectives on its centrepiece ‘Cruising’ that speak to the unpredictable breadth and depth of her own style, both faithfully make use of Giske’s free, ribboning sax lines, but in quite different ways.
The first anchors Giske’s flighty expressions with heavy trodding kicks and wind-tunnel drag drums in a Rhythm & Sound meets Theo Parrish-style beatdown/hallucinatory dub, whereas the ‘Less’ remix vanquishes the groove to leave Giske’s reprocessed sax swept into every corner of her wider screen settings, underlined by Burial-esque crackle and also recalling Alex Zhang-Hungtai solo affairs. Dead strong this.
After her work on the new MVO Trio LP, Laurel Halo redresses Bendik Giske’s enchanted sax experiments in a loping style of Rhythm & Sound gone 4th world on two killer remixes.
Heralding Giske’s album ‘Crack’ on the horizon, Laurel offers contrasting perspectives on its centrepiece ‘Cruising’ that speak to the unpredictable breadth and depth of her own style, both faithfully make use of Giske’s free, ribboning sax lines, but in quite different ways.
The first anchors Giske’s flighty expressions with heavy trodding kicks and wind-tunnel drag drums in a Rhythm & Sound meets Theo Parrish-style beatdown/hallucinatory dub, whereas the ‘Less’ remix vanquishes the groove to leave Giske’s reprocessed sax swept into every corner of her wider screen settings, underlined by Burial-esque crackle and also recalling Alex Zhang-Hungtai solo affairs. Dead strong this.
After her work on the new MVO Trio LP, Laurel Halo redresses Bendik Giske’s enchanted sax experiments in a loping style of Rhythm & Sound gone 4th world on two killer remixes.
Heralding Giske’s album ‘Crack’ on the horizon, Laurel offers contrasting perspectives on its centrepiece ‘Cruising’ that speak to the unpredictable breadth and depth of her own style, both faithfully make use of Giske’s free, ribboning sax lines, but in quite different ways.
The first anchors Giske’s flighty expressions with heavy trodding kicks and wind-tunnel drag drums in a Rhythm & Sound meets Theo Parrish-style beatdown/hallucinatory dub, whereas the ‘Less’ remix vanquishes the groove to leave Giske’s reprocessed sax swept into every corner of her wider screen settings, underlined by Burial-esque crackle and also recalling Alex Zhang-Hungtai solo affairs. Dead strong this.
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After her work on the new MVO Trio LP, Laurel Halo redresses Bendik Giske’s enchanted sax experiments in a loping style of Rhythm & Sound gone 4th world on two killer remixes.
Heralding Giske’s album ‘Crack’ on the horizon, Laurel offers contrasting perspectives on its centrepiece ‘Cruising’ that speak to the unpredictable breadth and depth of her own style, both faithfully make use of Giske’s free, ribboning sax lines, but in quite different ways.
The first anchors Giske’s flighty expressions with heavy trodding kicks and wind-tunnel drag drums in a Rhythm & Sound meets Theo Parrish-style beatdown/hallucinatory dub, whereas the ‘Less’ remix vanquishes the groove to leave Giske’s reprocessed sax swept into every corner of her wider screen settings, underlined by Burial-esque crackle and also recalling Alex Zhang-Hungtai solo affairs. Dead strong this.