Wednesday, June 6, 2012

REVIEW: Olan Mill - Paths


8 out of 10

Since the release of their 2010 debut, 'Pine', Olan Mill have repeatedly been compared to genre veterans such as Harold Budd and Nils Frahm. Listen to their polished mix of ambient electronics and treated pianos, strings, and guitars and you’ll begin to understand why. However, by no means should such comments resonate as a lack of originality on the duo’s behalf. Olan Mill’s ability to integrate vibrant melodies that come and go so effortlessly amid ethereal soundscapes is a rare and unique feat. On their sophomore album, 'Paths', this delicate balance is brought to an even more intimate level, thinned down to the most fragile of cores.

It doesn’t take long for their new work’s shift in artistic direction to become apparent. On the opener, “Bleu Polar,” we are introduced to the same elements that defined 'Pin'e, but instead of climaxing into a harmony of clear beauty, bands of strings drift in and out of focus. This sense of keeping the listener suspended runs throughout the rest of the album. A shower of cascading pianos mingles with an underpinning string melody on “Springs.” An ominous cello and mysterious hisses keep the listener on the edge of their ears on “On Waiting.”

Most Neo Classical albums released these days fall victim to being too predictable, employing the same repertoire of sounds again and again; that is by no means the case with 'Paths'. All of these six songs begin as washes of sound, loose and abstract, until they gradually assume shapes of meditative beauty, each distinct from the next. This is a fragile work of art that promises not to disappoint. Highly recommended.

Standout Tracks: Springs, Rube

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