Graham Reid | | <1 min read
Naviar Records out of London is certainly interesting in its ethos, it speaks of exploring the connection between contemporary experimental electronica and Japanese haiku.
It seems to be a collective, has a weekly half-hour broadcast of new music which are responses to particular haiku and has released numerous albums (we stopped counting at 50).
We have only reviewed one Naviar album previously but have been seduced back to the catalogue which has music which can be a balm for those inconvenient times.
However this album isn't a gentle warm wash but a more present kind of electronica ambient music which has touchstones in the familiar (slo-mo Vangelis/Bladerunner on Summit Clears, space-rock, Popul Vuh's Herzog soundtracks on the first half of Loneliness Proximity) but can also catch you off-guard (gentle birdsong) or jerk you alert (the car horns, street chatter and siren in Glass City).
So not so much an ambient album (which can be as ignorable as it is engaging) but an integrated, sonic evocation of various emotional and sonic spaces.