Some electronic artists scratch a little deeper than your average laptop warriors. They reach out to the natural world, too. And so it is with Brooklyn’s shape-shifting sound artist and classically trained violinist and pianist, Laurel Halo.
“Maybe I’m wrong, but I do know that the Internet is a dangerously addicting and often brain-draining virtual space,” she says. Like, tell us about it. Citing influences as broad Nightslugs, A Guy Called Gerald, 808 State, Joy Orbison and James Blake we’d have her programme our parties any time.
Fusing gossamer thin instrumental washes with ethereal, almost ghostly vocals, with thrumming percussion and waves of static, Halo’s work is like radio signals trying to break through in the dead of night.
There’s something urgent and insistent there, but you just can’t seem to decipher it. But it’s a wonderfully woozy experience trying to make the connection.
She’s on at Kazimier, of course, and is supported more than ably by Sun Drums, Dauwd and Outfit (DJs). It’s a first real world excursion by the people at Deep Hedonia – Liverpool’s most intriguing new promoters, aiming to bring the ‘best artists from the international experimental underground’ (with help from the fine people at Liverpool Music Week). As a calling card, and a statement of intent, they’ve bagged the perfect introductory course with Laurel Halo. We wish them well.