Rain washes against the music of Essay. Slow moving chords and blurred notes fill the ripening, stone-washed soundscapes, and the soft, electronic loops overflow with a jaded beauty.
In Essay, tranquil tones and sleepy layers gently toss and turn, resting completely in their surroundings, supported by heavier textures which give off a blissfully even temperature. Generally, the atmosphere’s in tune with a Balearic sunset as it bids farewell to the shoreline in a striking burst of amber light before it finally sinks into the sea. A scorching day has faded, leaving only an ambient afterglow. The music is like after sun lotion for the ears, allowing everything to cool off, relieving the mind and the muscles after a day in the sunshine.
Along with a slow pace, field recordings gently and unobtrusively enter, the looping textures glowing and shimmering beside them. The curve is so gentle and complete that it resembles the globe in its perfect sphere. Every tone and every natural sound orbits the other, recurring and disappearing over and over again. Daybreak and sunset are an eternal circle, and the yin and yang of the Earth presents itself inside the music. Deeper and deeper it goes. Like an ice cold drink, Essay has been chilled slowly, “Nineteen Eighty (1980)” setting the thoughtful, cool scenery in place. The lower progression of “Decade” has been touched by a deep bass; soon, softer tones will wisp along beside it, each one a golden speck of sand on a seashore of concealed melodies. One by one, they raise their heads above the sand, coming through into the music before burying themselves once again. As soon as the music seeps through, the tensions and the strains that we drag around with us ebb away.
As it continues its sole journey, Essay kisses the cool lips of the evening and its kind, departing light. It’s on a permanent summer vacation; you’ll love it here. (James Catchpole)