Sarah Louise – Earth and its Contents
Self Released – Out Now
Originally, this new album from experimentalist Sarah Louise (interviewed here) was created to be used as a soundtrack for animator Nick Crockett’s amazing new Appalachian industry themed Fire Underground project but, in light of recent global events, Sarah has decided to also put the music out as a stand-alone digital-only release with a name your price fee attached. In troubled times such as these, music is one of the most powerful remedies and I have considered Sarah Louise’s output as some of the most effective and therapeutic material I have heard. It can be soothing but often challenging, with her earlier albums featuring original twelve-string guitar tunings and unusual playing techniques and her more recent music experimenting more with guitar effects and recording techniques, all while remaining organic in spirit and always close to and considering nature.
Earth and its Contents is a perfect blend of her more recent experimental work, such as her spellbinding Nighttime Birds and Morning Stars album, one of my most regular spins, her earlier acoustic work like Field Guide, and her duo project with Sally Anne Morgan as House and Land. There are plenty of electronic touches across this set that beautifully evoke the industrial themes Crockett explores in his animation, such as the first part of ‘Fire Underground’, which is certainly more reminiscent of her Nighttime Birds or Deeper Woods music, particularly considering the itchy fragments that bring to mind ‘Ancient Intelligence’ from the former. But there are also more prominent instruments involved on this album, including some lovely delicate banjo on ‘Fire Underground’, which feels appropriate considering the Appalachian angle of the animation. ‘The Glow in the Morning’ is another example of this, with an upbeat strummed guitar part and bright harmonics mixing with minimal banjo lines. It is an uplifting piece of music that beautifully knits the instruments and sounds into a sunny, optimistic tapestry.
Like on Nighttime Birds, there are minimal vocals across this set too, with eerie manipulation apparent on ‘She Still Lives’, with steely banjo alongside it, and some beautiful layered chanted sounds over drone notes on ‘Wordless Chapel’. Elsewhere on ‘Mist Rises Above Blue Grass’, we have possibly the best example of the merging of Sarah Louise’s most recent styles, with the first half of the tune given up to patient electronic sounds and the second introducing a very pretty and light banjo line. After that Sarah sings WB Yeats’ ‘Song of Wandering Aengus’ poem to more banjo and subtle percussion backing it. Thinking about it, for me, the banjo is key on this album; it creates some beautiful tunes and melodies, while having that slightly metallic edge, which ties in well with the electronic side of the music, the animation concept from whence it came and its relationship with Appalachia. Just listen to ‘Nimrod in the Forest’ for another example of how well it works; odd sounds mix with the traditional timbre of the banjo to create a wonderful balance of textures.
Closer ‘Coin Toss’ is different again in it being quite a straight-up minute and a bit acoustic guitar tune. Gorgeously simple and innocent, it is a brief and bright way to end another rich, intelligent and resilient album from, for me, one of the most hard-working, aware and important composers and performers we have. Relish this music at this time and let it help you consider things in different ways.
Download via Bandcamp: https://sarahlouise.bandcamp.com/album/earth-and-its-contents
Photo Credit: Katrina Ohstrom