I’ve always been a fan of this kind of work. Being a strong advocate for the belief that music is a very cost-effective way of being transported elsewhere, HOTT takes the listener on an emotive soundscape of a journey. I imagine it is the aural representation of trying to reach the female protagonist who features at the start of the track. And being frustrated at every turn.
But that’s just me.
And therein lies the beauty of this kind of work. Arguably, your personal response to it is as much of the art as the art itself. It’s more akin to jazz than anything, the wanton sampling and reverb-drenched rhythms playing tricks on the ear and playing games with the psyche. And all the ‘instruments’ employed in the collage soundscape take on a new character because of that… the mix of lo-fi record static, fax machine, ring tone and drum loop all demand attention as we apply our musical appreciation sensibilities to the piece. It put me in mind of the experimental stuff that OMD tinkered with in the 80s, particularly their 1983 masterpiece Dazzle Ships.
The looping keyboard motifs are insistent and very well judged, adding plaintive colour to proceedings and creating a hypnotic groove around sustained root notes that beguile us into trying to fathom out our own interior monologues and… ah, there I go again, being taken on a HOTT journey.
Luxgaze is well-named. It feels expensive, and well-reasoned, this view.
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