Leda Maar
Stairway 13
Boomkat Product Review:
Riz Maslen (Neotropic) explores luxurious, creeping low register tones and unfathomable reverb space in her enchanted debut as Leda Maar for the ever-reliable Mana Records - RIYL Lifeforms, Mira Calix, Kevin Martin.
A longtime touchstone for Mana since her documentarian concrète/breakbeat recordings on 1996’s ‘Laundrophonic’ EP, the enduring filament of Riz Mazalen work links FSOL’s ‘Papua New Guinea’ (she did live vox on its TOTP performance), to mid-late ‘90s Ninja Tune, thru to soundtracks for the Grand Theft Auto game and Andrew Kötting’s ‘The Whalebone Box’ film in 2020.
While covering a spectra of styles over the decades, Riz’s work is united by its earnest sound sensitivity and an embrace of atmospheric nuance that’s patently fed forward into ‘Stairway 13’, her response to a request from Mana seeking something in continuity with the “space & bass” and thematic undercurrents of her ‘90s works. The results come to perpetuate a sort of post-rave melancholy and fascination with hauntological eeriness in a series of heavy-lidded, longform pieces that come to betray her parallels in sound design and theatre, as well as newfound threads of folk inspiration, all lending to a resoundingly immersive zoner of an album.
Finely calibrated with its own sense of dense and voluminous barometric pressure and lighting, the four parts to ’Stairway 13’ conjure comparison with the subtleties of Kevin Martin’s isolationist ambience as much as the enigmatic aspects of Mira Calix’s latter work. Arriving ever so slowly with the fathomless parameters of part 1, Leda’s wordless voice links the four pieces, shapeshifting from forlorn choral silhouettes to noctilucent thizz and processed gynoid redolent of Teresa Winter’s ‘Drowning by Numbers’ tape in the post-industrial wastes of part 2, and more theatric arrangements in its 3rd part, giving way to classic, gothic-industrial RPG themes in the final level.
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Boomkat Product Review:
Riz Maslen (Neotropic) explores luxurious, creeping low register tones and unfathomable reverb space in her enchanted debut as Leda Maar for the ever-reliable Mana Records - RIYL Lifeforms, Mira Calix, Kevin Martin.
A longtime touchstone for Mana since her documentarian concrète/breakbeat recordings on 1996’s ‘Laundrophonic’ EP, the enduring filament of Riz Mazalen work links FSOL’s ‘Papua New Guinea’ (she did live vox on its TOTP performance), to mid-late ‘90s Ninja Tune, thru to soundtracks for the Grand Theft Auto game and Andrew Kötting’s ‘The Whalebone Box’ film in 2020.
While covering a spectra of styles over the decades, Riz’s work is united by its earnest sound sensitivity and an embrace of atmospheric nuance that’s patently fed forward into ‘Stairway 13’, her response to a request from Mana seeking something in continuity with the “space & bass” and thematic undercurrents of her ‘90s works. The results come to perpetuate a sort of post-rave melancholy and fascination with hauntological eeriness in a series of heavy-lidded, longform pieces that come to betray her parallels in sound design and theatre, as well as newfound threads of folk inspiration, all lending to a resoundingly immersive zoner of an album.
Finely calibrated with its own sense of dense and voluminous barometric pressure and lighting, the four parts to ’Stairway 13’ conjure comparison with the subtleties of Kevin Martin’s isolationist ambience as much as the enigmatic aspects of Mira Calix’s latter work. Arriving ever so slowly with the fathomless parameters of part 1, Leda’s wordless voice links the four pieces, shapeshifting from forlorn choral silhouettes to noctilucent thizz and processed gynoid redolent of Teresa Winter’s ‘Drowning by Numbers’ tape in the post-industrial wastes of part 2, and more theatric arrangements in its 3rd part, giving way to classic, gothic-industrial RPG themes in the final level.
Boomkat Product Review:
Riz Maslen (Neotropic) explores luxurious, creeping low register tones and unfathomable reverb space in her enchanted debut as Leda Maar for the ever-reliable Mana Records - RIYL Lifeforms, Mira Calix, Kevin Martin.
A longtime touchstone for Mana since her documentarian concrète/breakbeat recordings on 1996’s ‘Laundrophonic’ EP, the enduring filament of Riz Mazalen work links FSOL’s ‘Papua New Guinea’ (she did live vox on its TOTP performance), to mid-late ‘90s Ninja Tune, thru to soundtracks for the Grand Theft Auto game and Andrew Kötting’s ‘The Whalebone Box’ film in 2020.
While covering a spectra of styles over the decades, Riz’s work is united by its earnest sound sensitivity and an embrace of atmospheric nuance that’s patently fed forward into ‘Stairway 13’, her response to a request from Mana seeking something in continuity with the “space & bass” and thematic undercurrents of her ‘90s works. The results come to perpetuate a sort of post-rave melancholy and fascination with hauntological eeriness in a series of heavy-lidded, longform pieces that come to betray her parallels in sound design and theatre, as well as newfound threads of folk inspiration, all lending to a resoundingly immersive zoner of an album.
Finely calibrated with its own sense of dense and voluminous barometric pressure and lighting, the four parts to ’Stairway 13’ conjure comparison with the subtleties of Kevin Martin’s isolationist ambience as much as the enigmatic aspects of Mira Calix’s latter work. Arriving ever so slowly with the fathomless parameters of part 1, Leda’s wordless voice links the four pieces, shapeshifting from forlorn choral silhouettes to noctilucent thizz and processed gynoid redolent of Teresa Winter’s ‘Drowning by Numbers’ tape in the post-industrial wastes of part 2, and more theatric arrangements in its 3rd part, giving way to classic, gothic-industrial RPG themes in the final level.
Boomkat Product Review:
Riz Maslen (Neotropic) explores luxurious, creeping low register tones and unfathomable reverb space in her enchanted debut as Leda Maar for the ever-reliable Mana Records - RIYL Lifeforms, Mira Calix, Kevin Martin.
A longtime touchstone for Mana since her documentarian concrète/breakbeat recordings on 1996’s ‘Laundrophonic’ EP, the enduring filament of Riz Mazalen work links FSOL’s ‘Papua New Guinea’ (she did live vox on its TOTP performance), to mid-late ‘90s Ninja Tune, thru to soundtracks for the Grand Theft Auto game and Andrew Kötting’s ‘The Whalebone Box’ film in 2020.
While covering a spectra of styles over the decades, Riz’s work is united by its earnest sound sensitivity and an embrace of atmospheric nuance that’s patently fed forward into ‘Stairway 13’, her response to a request from Mana seeking something in continuity with the “space & bass” and thematic undercurrents of her ‘90s works. The results come to perpetuate a sort of post-rave melancholy and fascination with hauntological eeriness in a series of heavy-lidded, longform pieces that come to betray her parallels in sound design and theatre, as well as newfound threads of folk inspiration, all lending to a resoundingly immersive zoner of an album.
Finely calibrated with its own sense of dense and voluminous barometric pressure and lighting, the four parts to ’Stairway 13’ conjure comparison with the subtleties of Kevin Martin’s isolationist ambience as much as the enigmatic aspects of Mira Calix’s latter work. Arriving ever so slowly with the fathomless parameters of part 1, Leda’s wordless voice links the four pieces, shapeshifting from forlorn choral silhouettes to noctilucent thizz and processed gynoid redolent of Teresa Winter’s ‘Drowning by Numbers’ tape in the post-industrial wastes of part 2, and more theatric arrangements in its 3rd part, giving way to classic, gothic-industrial RPG themes in the final level.
Double LP on black vinyl.
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Boomkat Product Review:
Riz Maslen (Neotropic) explores luxurious, creeping low register tones and unfathomable reverb space in her enchanted debut as Leda Maar for the ever-reliable Mana Records - RIYL Lifeforms, Mira Calix, Kevin Martin.
A longtime touchstone for Mana since her documentarian concrète/breakbeat recordings on 1996’s ‘Laundrophonic’ EP, the enduring filament of Riz Mazalen work links FSOL’s ‘Papua New Guinea’ (she did live vox on its TOTP performance), to mid-late ‘90s Ninja Tune, thru to soundtracks for the Grand Theft Auto game and Andrew Kötting’s ‘The Whalebone Box’ film in 2020.
While covering a spectra of styles over the decades, Riz’s work is united by its earnest sound sensitivity and an embrace of atmospheric nuance that’s patently fed forward into ‘Stairway 13’, her response to a request from Mana seeking something in continuity with the “space & bass” and thematic undercurrents of her ‘90s works. The results come to perpetuate a sort of post-rave melancholy and fascination with hauntological eeriness in a series of heavy-lidded, longform pieces that come to betray her parallels in sound design and theatre, as well as newfound threads of folk inspiration, all lending to a resoundingly immersive zoner of an album.
Finely calibrated with its own sense of dense and voluminous barometric pressure and lighting, the four parts to ’Stairway 13’ conjure comparison with the subtleties of Kevin Martin’s isolationist ambience as much as the enigmatic aspects of Mira Calix’s latter work. Arriving ever so slowly with the fathomless parameters of part 1, Leda’s wordless voice links the four pieces, shapeshifting from forlorn choral silhouettes to noctilucent thizz and processed gynoid redolent of Teresa Winter’s ‘Drowning by Numbers’ tape in the post-industrial wastes of part 2, and more theatric arrangements in its 3rd part, giving way to classic, gothic-industrial RPG themes in the final level.
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