Midwinter Processionals
The seasonal soundtrack we've been craving, 'Midwinter Processionals' is another studied mélange of ancient and hypermodern sounds from the peerless Laura Cannell that sounds like Demdike remixing Thomas Tallis, or Lustmord chewing over Arvo Pärt.
There's something magical in the air each winter that's never quite served by contemporary Christmas music, in our opinion. Cannell's puzzled out soundtracks for the Winter months before - on 2020's 'WINTER RITUALS' and 2022's 'New Christmas Rituals', for example - but 'Midwinter Processionals' might be her most crushing contribution to the canon yet, striking an immaculate balance between the old world and new horizons. She's on familiar ground at first, when 'Memories of Stars' trickles restrained, murky pads through archaic folk strings. But as soon as she adds a bone-dry kick drum, the air shifts; the aesthetic is electronic, but she uses the thud as a marching rhythm, jumbling the timeline and leaning into the unknown.
Cannell leads with recorder on 'Sun Processionals', dimming its sylvan charm to enhance its most bewitching qualities, and complementing the sound with stuttered blips and almost inaudible fuzzed-out synth fanfares. Her electronic elements aren't overproduced or impeding in any way, instead providing a counterpoint for the resonant, familiar acoustic sounds. The mini-album peaks with 'Echoes in the Cathedral', a main title theme if we've ever heard one, that underpins Cannell's ornate early music gusts with frozen pads so stirring we'd swear they were swiped from a Michael Mann soundtrack. And 'After the Lamento di Tristano' ushers us towards the church's crypt, playing a doom-y dungeon synth purr off a flurry of courtly strings.
Christmas might be coming, but Cannell doesn't ignore the holiday's pagan roots, when Northern Europeans would celebrate their survival through another cold season with 12 days of feast, fire and sacrifice. The traces of folk music float to the surface on 'Midwinter Processionals', coalescing with holy themes and contemporary logic. It might not be the festive set you're expecting, but it's the one you need.
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The seasonal soundtrack we've been craving, 'Midwinter Processionals' is another studied mélange of ancient and hypermodern sounds from the peerless Laura Cannell that sounds like Demdike remixing Thomas Tallis, or Lustmord chewing over Arvo Pärt.
There's something magical in the air each winter that's never quite served by contemporary Christmas music, in our opinion. Cannell's puzzled out soundtracks for the Winter months before - on 2020's 'WINTER RITUALS' and 2022's 'New Christmas Rituals', for example - but 'Midwinter Processionals' might be her most crushing contribution to the canon yet, striking an immaculate balance between the old world and new horizons. She's on familiar ground at first, when 'Memories of Stars' trickles restrained, murky pads through archaic folk strings. But as soon as she adds a bone-dry kick drum, the air shifts; the aesthetic is electronic, but she uses the thud as a marching rhythm, jumbling the timeline and leaning into the unknown.
Cannell leads with recorder on 'Sun Processionals', dimming its sylvan charm to enhance its most bewitching qualities, and complementing the sound with stuttered blips and almost inaudible fuzzed-out synth fanfares. Her electronic elements aren't overproduced or impeding in any way, instead providing a counterpoint for the resonant, familiar acoustic sounds. The mini-album peaks with 'Echoes in the Cathedral', a main title theme if we've ever heard one, that underpins Cannell's ornate early music gusts with frozen pads so stirring we'd swear they were swiped from a Michael Mann soundtrack. And 'After the Lamento di Tristano' ushers us towards the church's crypt, playing a doom-y dungeon synth purr off a flurry of courtly strings.
Christmas might be coming, but Cannell doesn't ignore the holiday's pagan roots, when Northern Europeans would celebrate their survival through another cold season with 12 days of feast, fire and sacrifice. The traces of folk music float to the surface on 'Midwinter Processionals', coalescing with holy themes and contemporary logic. It might not be the festive set you're expecting, but it's the one you need.
The seasonal soundtrack we've been craving, 'Midwinter Processionals' is another studied mélange of ancient and hypermodern sounds from the peerless Laura Cannell that sounds like Demdike remixing Thomas Tallis, or Lustmord chewing over Arvo Pärt.
There's something magical in the air each winter that's never quite served by contemporary Christmas music, in our opinion. Cannell's puzzled out soundtracks for the Winter months before - on 2020's 'WINTER RITUALS' and 2022's 'New Christmas Rituals', for example - but 'Midwinter Processionals' might be her most crushing contribution to the canon yet, striking an immaculate balance between the old world and new horizons. She's on familiar ground at first, when 'Memories of Stars' trickles restrained, murky pads through archaic folk strings. But as soon as she adds a bone-dry kick drum, the air shifts; the aesthetic is electronic, but she uses the thud as a marching rhythm, jumbling the timeline and leaning into the unknown.
Cannell leads with recorder on 'Sun Processionals', dimming its sylvan charm to enhance its most bewitching qualities, and complementing the sound with stuttered blips and almost inaudible fuzzed-out synth fanfares. Her electronic elements aren't overproduced or impeding in any way, instead providing a counterpoint for the resonant, familiar acoustic sounds. The mini-album peaks with 'Echoes in the Cathedral', a main title theme if we've ever heard one, that underpins Cannell's ornate early music gusts with frozen pads so stirring we'd swear they were swiped from a Michael Mann soundtrack. And 'After the Lamento di Tristano' ushers us towards the church's crypt, playing a doom-y dungeon synth purr off a flurry of courtly strings.
Christmas might be coming, but Cannell doesn't ignore the holiday's pagan roots, when Northern Europeans would celebrate their survival through another cold season with 12 days of feast, fire and sacrifice. The traces of folk music float to the surface on 'Midwinter Processionals', coalescing with holy themes and contemporary logic. It might not be the festive set you're expecting, but it's the one you need.
The seasonal soundtrack we've been craving, 'Midwinter Processionals' is another studied mélange of ancient and hypermodern sounds from the peerless Laura Cannell that sounds like Demdike remixing Thomas Tallis, or Lustmord chewing over Arvo Pärt.
There's something magical in the air each winter that's never quite served by contemporary Christmas music, in our opinion. Cannell's puzzled out soundtracks for the Winter months before - on 2020's 'WINTER RITUALS' and 2022's 'New Christmas Rituals', for example - but 'Midwinter Processionals' might be her most crushing contribution to the canon yet, striking an immaculate balance between the old world and new horizons. She's on familiar ground at first, when 'Memories of Stars' trickles restrained, murky pads through archaic folk strings. But as soon as she adds a bone-dry kick drum, the air shifts; the aesthetic is electronic, but she uses the thud as a marching rhythm, jumbling the timeline and leaning into the unknown.
Cannell leads with recorder on 'Sun Processionals', dimming its sylvan charm to enhance its most bewitching qualities, and complementing the sound with stuttered blips and almost inaudible fuzzed-out synth fanfares. Her electronic elements aren't overproduced or impeding in any way, instead providing a counterpoint for the resonant, familiar acoustic sounds. The mini-album peaks with 'Echoes in the Cathedral', a main title theme if we've ever heard one, that underpins Cannell's ornate early music gusts with frozen pads so stirring we'd swear they were swiped from a Michael Mann soundtrack. And 'After the Lamento di Tristano' ushers us towards the church's crypt, playing a doom-y dungeon synth purr off a flurry of courtly strings.
Christmas might be coming, but Cannell doesn't ignore the holiday's pagan roots, when Northern Europeans would celebrate their survival through another cold season with 12 days of feast, fire and sacrifice. The traces of folk music float to the surface on 'Midwinter Processionals', coalescing with holy themes and contemporary logic. It might not be the festive set you're expecting, but it's the one you need.