Boomkat Product Review:
'Into the Traffic, Under the Moonlight’ is a new set of songs woven from the same fibre as Laila Sakini’s stunning ‘Vivienne’ album - one of the records we listened to - and loved - most this year, expanding its minimalist palette of piano, voice and effects to include some percusive samples, cello, bass clarinet, flute and hand claps. Listening to that album, followed by this one, feels a bit like emerging from a small room - curtains drawn - into the outside world for the first time in a while.
The quietly suggestive presence of Sakini’s music once again evokes ciné-rich scenarios and vignettes from a careful paucity of ingredients to limn scenes of lonely existential angst and hypnagogic dreaminess that contrast with ruffer cuts of late night trip hop and nerve-bitten breakbeats that resemble a makeshift coffee table strewn with bits of baccy and weed, mug stains and unpaid bills, rather than unwieldy art books and pot pourri.
It pays to start at the back here, as the creaking cold space and aching vox of ‘Night Emotion’ really seems to sum up the wistful sensuality of the whole release, but - to do it properly - the album unfolds as a total artwork, looping from the plaintive vocals - and flute - of ‘Talk My Way’ in succinct turns thru the dust-mite dance of her instrumental ‘Wade High’, to the opiated night flight of ‘Into The Traffic’, while curled-lip smackers in ‘Easy Does’, and her restlessly cranky ‘Metro’ help play out a flux of feelings, ambiguous and determined - that remind you that no one ever really knows what goes on inside people’s heads.
In a world of overly produced and controlled music, this here is yr antidote - Laila Sakini is producing some of the most vital and brittle music of our time.