Remote Together
Redshift, 2022
8/10
A skilled oboist and improviser, Catherine Lee returns with a sophomore solo album, where themes of pandemic culture are put through cathartic, adventurous and atypical songs with a rare, sonic appeal.
Josh Nobles’ “Nocturne” starts the listen with solo oboe, where a very eloquent and meticulous delivery is quite expressive, and Dana Reason’s “Chanson de Fleurs: Eleanor of Aquitaine” pairs the stirring oboe with soundscapes that give the track a very nature-esque appeal.
Residing in the middle, “Alluvium”, by Taylor Brook, brings dreamy electronics to the synthetic versus organic ambience, while “Red Eyes, Green Lion’s Teeth, Golden Heads” recruits tape to the oboe d’amore for a more percussive focused display amid the flowing oboe of the Julian Snow piece.
The final two tracks are among the best, where Matt Carlson’s “Chiasmus” blends french horn and synthesizer into a unique buzzing, droning landscape, and Lee and Juniana Lanning’s “Silkys” exits with the oboe, field recordings and sound manipulation making an indelible impression.
A body of work that’s often reflective and addresses the dynamics of transformation, there’s a very artistic presence that comes with a profound familiarity with her instrument, and the technical demeanor is nothing short of stunning.
Travels well with: Instruments Of Happiness- Slow, Quiet Music In Search Of Electric Happiness; Joseph Petric- Seen