One for fans of Fennesz, Pan American, or indeed OFNOT boss KMRU (who shows up on two of the album's tracks), guitarist Blake Lee's first solo album memorializes the night sky, capturing the mystery and majesty of space with textured granulations and gut-wrenching harmonic meditations.
Lee's first hurdle while he was figuring out his debut was trying to distance the guitar from its expected sound without losing its expressiveness. He's been contemplating the record for the last few years, and it took a run-in with KMRU in LA to give him the confidence he needed to finish things properly. No doubt it was his day job - as the guitarist and music director for Lana Del Rey, no less - that caused him to rethink his instrument's potential. Working alongside Del Rey since 2011, he's seen the glossier side of rock 'n roll in vivid detail, so 'No Sound in Space' plays like an attempt to feel out something more intimate and more cathartic.
There's a genuine openness to 'Moving Air', one of the album's more sedate compositions, with elongated guitar tones that wash into Lee's amp hum until the white noise takes hold completely. And on the two 'Echoplexx' chapters, Lee splits new age ambience with MBV-style pliability. Typically, it's the pair of KMRU collaborations that widen the aspect ratio most visibly; Lee sent the stems for 'Miura' and 'Waiting' to the Berlin-based artist while the album was still in progress, and KMRU responded with opalescent environmental sounds and dense electro-magnetic distortions that perfectly mesh with Lee's celestial harmonies.
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One for fans of Fennesz, Pan American, or indeed OFNOT boss KMRU (who shows up on two of the album's tracks), guitarist Blake Lee's first solo album memorializes the night sky, capturing the mystery and majesty of space with textured granulations and gut-wrenching harmonic meditations.
Lee's first hurdle while he was figuring out his debut was trying to distance the guitar from its expected sound without losing its expressiveness. He's been contemplating the record for the last few years, and it took a run-in with KMRU in LA to give him the confidence he needed to finish things properly. No doubt it was his day job - as the guitarist and music director for Lana Del Rey, no less - that caused him to rethink his instrument's potential. Working alongside Del Rey since 2011, he's seen the glossier side of rock 'n roll in vivid detail, so 'No Sound in Space' plays like an attempt to feel out something more intimate and more cathartic.
There's a genuine openness to 'Moving Air', one of the album's more sedate compositions, with elongated guitar tones that wash into Lee's amp hum until the white noise takes hold completely. And on the two 'Echoplexx' chapters, Lee splits new age ambience with MBV-style pliability. Typically, it's the pair of KMRU collaborations that widen the aspect ratio most visibly; Lee sent the stems for 'Miura' and 'Waiting' to the Berlin-based artist while the album was still in progress, and KMRU responded with opalescent environmental sounds and dense electro-magnetic distortions that perfectly mesh with Lee's celestial harmonies.
One for fans of Fennesz, Pan American, or indeed OFNOT boss KMRU (who shows up on two of the album's tracks), guitarist Blake Lee's first solo album memorializes the night sky, capturing the mystery and majesty of space with textured granulations and gut-wrenching harmonic meditations.
Lee's first hurdle while he was figuring out his debut was trying to distance the guitar from its expected sound without losing its expressiveness. He's been contemplating the record for the last few years, and it took a run-in with KMRU in LA to give him the confidence he needed to finish things properly. No doubt it was his day job - as the guitarist and music director for Lana Del Rey, no less - that caused him to rethink his instrument's potential. Working alongside Del Rey since 2011, he's seen the glossier side of rock 'n roll in vivid detail, so 'No Sound in Space' plays like an attempt to feel out something more intimate and more cathartic.
There's a genuine openness to 'Moving Air', one of the album's more sedate compositions, with elongated guitar tones that wash into Lee's amp hum until the white noise takes hold completely. And on the two 'Echoplexx' chapters, Lee splits new age ambience with MBV-style pliability. Typically, it's the pair of KMRU collaborations that widen the aspect ratio most visibly; Lee sent the stems for 'Miura' and 'Waiting' to the Berlin-based artist while the album was still in progress, and KMRU responded with opalescent environmental sounds and dense electro-magnetic distortions that perfectly mesh with Lee's celestial harmonies.
One for fans of Fennesz, Pan American, or indeed OFNOT boss KMRU (who shows up on two of the album's tracks), guitarist Blake Lee's first solo album memorializes the night sky, capturing the mystery and majesty of space with textured granulations and gut-wrenching harmonic meditations.
Lee's first hurdle while he was figuring out his debut was trying to distance the guitar from its expected sound without losing its expressiveness. He's been contemplating the record for the last few years, and it took a run-in with KMRU in LA to give him the confidence he needed to finish things properly. No doubt it was his day job - as the guitarist and music director for Lana Del Rey, no less - that caused him to rethink his instrument's potential. Working alongside Del Rey since 2011, he's seen the glossier side of rock 'n roll in vivid detail, so 'No Sound in Space' plays like an attempt to feel out something more intimate and more cathartic.
There's a genuine openness to 'Moving Air', one of the album's more sedate compositions, with elongated guitar tones that wash into Lee's amp hum until the white noise takes hold completely. And on the two 'Echoplexx' chapters, Lee splits new age ambience with MBV-style pliability. Typically, it's the pair of KMRU collaborations that widen the aspect ratio most visibly; Lee sent the stems for 'Miura' and 'Waiting' to the Berlin-based artist while the album was still in progress, and KMRU responded with opalescent environmental sounds and dense electro-magnetic distortions that perfectly mesh with Lee's celestial harmonies.
Red vinyl, edition of 200.
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One for fans of Fennesz, Pan American, or indeed OFNOT boss KMRU (who shows up on two of the album's tracks), guitarist Blake Lee's first solo album memorializes the night sky, capturing the mystery and majesty of space with textured granulations and gut-wrenching harmonic meditations.
Lee's first hurdle while he was figuring out his debut was trying to distance the guitar from its expected sound without losing its expressiveness. He's been contemplating the record for the last few years, and it took a run-in with KMRU in LA to give him the confidence he needed to finish things properly. No doubt it was his day job - as the guitarist and music director for Lana Del Rey, no less - that caused him to rethink his instrument's potential. Working alongside Del Rey since 2011, he's seen the glossier side of rock 'n roll in vivid detail, so 'No Sound in Space' plays like an attempt to feel out something more intimate and more cathartic.
There's a genuine openness to 'Moving Air', one of the album's more sedate compositions, with elongated guitar tones that wash into Lee's amp hum until the white noise takes hold completely. And on the two 'Echoplexx' chapters, Lee splits new age ambience with MBV-style pliability. Typically, it's the pair of KMRU collaborations that widen the aspect ratio most visibly; Lee sent the stems for 'Miura' and 'Waiting' to the Berlin-based artist while the album was still in progress, and KMRU responded with opalescent environmental sounds and dense electro-magnetic distortions that perfectly mesh with Lee's celestial harmonies.