Formats available: LP / CD / digital
Release date: October 2018
More Info (kranky): Portland, Oregon resident Mary Sutton’s solo debut materialized in the wake of a performance she gave at a clothing-optional soaking-pool sauna: “I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.” It was while in this headspace that she reconnected with Satie’s entrancing cyclical motifs, particularly the way “he subtly spins melodic fragments, and pivots harmonies and phrases so the repetitions feel new and surprising yet soothingly familiar, as if casting a spell.”
The nine intuitive instrumentals comprising The Deep End accomplish exactly that, threading complementary shades of soft-hued hypnosis, dazed modal introspection, icy amusement park reverie, and lunar lullaby into a prismatic suite of contemplative melody and synthetic communion. Sutton’s songs are active rather than ambient yet their structure is more suggestive than scripted, full of lulls, asymmetries, and daydreams. Each track was written specifically to be played live on an analog synthesizer, with no overdubs or post-production wizardry. The sound of Saloli is one of warm-blooded wiring, turned on and tapped into, emotive and electric, storied machines speaking through all too human hands.
Saloli – The Deep End (2018 :: kranky, krank214)
4. Hey Ahh
5. Ice World
Review: AG – October 2018
“I had never composed for synth before but wanted to make something people sitting motionless and naked in hot bubbly water would want to hear.”
The Deep End is certainly something out of a dream. With the certain time of the year, I just can’t help to associate these dreamy synthesizers with Fall and the changing of the seasons. kranky newcomer Saloli releases bold “The Deep End” as their first brave and firm artist album on the label. The synths in this release clearly span multiple genre bounds with ease; they have a haunting presence at times. It’s the type of ambiguity and high quality music that is left to interpretations which the kranky label is known so well for putting out.
In “Barcarolle,” dreamy arrays of patterns grace the listener as an introduction to The Deep End. Just a dash of Boards of Canada inspiried synthesizers. Saloli wasn’t kidding when saying they wanted to produce something that occupies the listener’s attention fully. “Umbrellas” features more uptempo synthesizers with harmonics that would normally occupy the sound space of the synthwave genre. In tandem with the synths, we hear a beautiful piano melody throughout. Truly purveyors of new and interesting sounds, kranky has done it again signing fresh talent with a unique and addicting sound. “Revolver” takes a step back from uptempo work, and features a distinguishable but subtle melody while drowned in synth. “Hey Ah” evokes a particular set of emotions with a nostalgic synthesizer that teases and eventually returns to full melody. “Ice World” is a two and a half minute soft & heartfelt piano ballad, truly one of the most beautiful moments on The Deep End. To wake an avid dreaming inspired listener up, “Anthem” begins with synthesizers you might expect to hear in the heat of the moment during a movie in a 1980s movie — and suddenly the whole aural experience to a listener is that much more dreamy; it connects to a time and place…
“Nocturne” opens with funky inspired synths and airy chords – a truly haunting track to show that Saloli is capable of creating any mood or atmosphere with electronic experimentation. Next to last, “Reverie” features inspired textures during a three minute ballad of synthesizer experimentation while truly exploring the artist’s deep inspiration for this project. Lastly, “Lullaby” closes out the album with downtempo, late night inspired vibes that prove to be truly serene and a total breath of fresh air from kranky newcomer Saloli.
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