Whatever the Weather II
Loraine James leans further into ambient mythology on her second Whatever the Weather set, stripping away most of the beats and focusing on warm pads, sine tone fluctuations, field recordings and luscious new age themes.
It was a little perplexing when James initially described Whatever the Weather as her "ambient" project, given that the first album seemed to veer more towards DNTEL and Telefon Tel Aviv than Brian Eno. But all becomes clear on 'Whatever the Weather II'; now we get to hear a radically different side of James' personality - the beats are still present occasionally, but this is her chance to focus on textures, harmonies and melodies that only hummed away in the background on 'Reflection' or 'Gentle Confrontation'.
After the dubby '3°C', that obscures its muffled pulse with euphoric sustained harmonies, James hits full swing on '18°C', adding only faint percussive traces as the cascading tones seem to overlap each other. It's not a million miles from H. Takahashi's geologically-inspired sine experiments, but James keeps experimenting, working with plasticky FM chimes and shortwave noise on '5°C', and muddling evocative field recordings with chattering synths on the sublime '9°C'.
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Loraine James leans further into ambient mythology on her second Whatever the Weather set, stripping away most of the beats and focusing on warm pads, sine tone fluctuations, field recordings and luscious new age themes.
It was a little perplexing when James initially described Whatever the Weather as her "ambient" project, given that the first album seemed to veer more towards DNTEL and Telefon Tel Aviv than Brian Eno. But all becomes clear on 'Whatever the Weather II'; now we get to hear a radically different side of James' personality - the beats are still present occasionally, but this is her chance to focus on textures, harmonies and melodies that only hummed away in the background on 'Reflection' or 'Gentle Confrontation'.
After the dubby '3°C', that obscures its muffled pulse with euphoric sustained harmonies, James hits full swing on '18°C', adding only faint percussive traces as the cascading tones seem to overlap each other. It's not a million miles from H. Takahashi's geologically-inspired sine experiments, but James keeps experimenting, working with plasticky FM chimes and shortwave noise on '5°C', and muddling evocative field recordings with chattering synths on the sublime '9°C'.
Loraine James leans further into ambient mythology on her second Whatever the Weather set, stripping away most of the beats and focusing on warm pads, sine tone fluctuations, field recordings and luscious new age themes.
It was a little perplexing when James initially described Whatever the Weather as her "ambient" project, given that the first album seemed to veer more towards DNTEL and Telefon Tel Aviv than Brian Eno. But all becomes clear on 'Whatever the Weather II'; now we get to hear a radically different side of James' personality - the beats are still present occasionally, but this is her chance to focus on textures, harmonies and melodies that only hummed away in the background on 'Reflection' or 'Gentle Confrontation'.
After the dubby '3°C', that obscures its muffled pulse with euphoric sustained harmonies, James hits full swing on '18°C', adding only faint percussive traces as the cascading tones seem to overlap each other. It's not a million miles from H. Takahashi's geologically-inspired sine experiments, but James keeps experimenting, working with plasticky FM chimes and shortwave noise on '5°C', and muddling evocative field recordings with chattering synths on the sublime '9°C'.
Loraine James leans further into ambient mythology on her second Whatever the Weather set, stripping away most of the beats and focusing on warm pads, sine tone fluctuations, field recordings and luscious new age themes.
It was a little perplexing when James initially described Whatever the Weather as her "ambient" project, given that the first album seemed to veer more towards DNTEL and Telefon Tel Aviv than Brian Eno. But all becomes clear on 'Whatever the Weather II'; now we get to hear a radically different side of James' personality - the beats are still present occasionally, but this is her chance to focus on textures, harmonies and melodies that only hummed away in the background on 'Reflection' or 'Gentle Confrontation'.
After the dubby '3°C', that obscures its muffled pulse with euphoric sustained harmonies, James hits full swing on '18°C', adding only faint percussive traces as the cascading tones seem to overlap each other. It's not a million miles from H. Takahashi's geologically-inspired sine experiments, but James keeps experimenting, working with plasticky FM chimes and shortwave noise on '5°C', and muddling evocative field recordings with chattering synths on the sublime '9°C'.
Dark green vinyl.
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Loraine James leans further into ambient mythology on her second Whatever the Weather set, stripping away most of the beats and focusing on warm pads, sine tone fluctuations, field recordings and luscious new age themes.
It was a little perplexing when James initially described Whatever the Weather as her "ambient" project, given that the first album seemed to veer more towards DNTEL and Telefon Tel Aviv than Brian Eno. But all becomes clear on 'Whatever the Weather II'; now we get to hear a radically different side of James' personality - the beats are still present occasionally, but this is her chance to focus on textures, harmonies and melodies that only hummed away in the background on 'Reflection' or 'Gentle Confrontation'.
After the dubby '3°C', that obscures its muffled pulse with euphoric sustained harmonies, James hits full swing on '18°C', adding only faint percussive traces as the cascading tones seem to overlap each other. It's not a million miles from H. Takahashi's geologically-inspired sine experiments, but James keeps experimenting, working with plasticky FM chimes and shortwave noise on '5°C', and muddling evocative field recordings with chattering synths on the sublime '9°C'.