For greater than a decade, Melody Prochet’s songs have drifted by dream logic — language dissolving into texture, emotion refracted by haze. Unclouded, her fourth album as Melody’s Echo Chamber and third for Domino Information, doesn’t abandon that ethereal high quality due to the arrival of the Swedish producer/songwriter Sven Wunder, greatest recognized for the plush psych-jazz soundscapes of his personal dazzling discography. However right here, Wunder grounds her pastel palette with one thing newly tactile: breakbeats, supple bass strains and strings that transfer like muscle fairly than mist.
From the beginning, the rhythm part does as a lot storytelling because the lyrics. On opener “The Home That Doesn’t Exist,” Love Örsan’s bass and Heliocentrics legend Malcolm Catto’s drumming lock right into a groove that summons the house Prochet’s singing about — one constructed from movement and heartbeat fairly than stone. “Within the Stars” introduces Wunder’s calling playing cards with gliding strings, boom-bap beats and a melody that pirouettes between melancholy and delight. Lyrics about “discovering a spot I can name mine” land more durable as a result of the music itself seems like a vacation spot.
That physicality animates the entire report. “Eyes Closed” and “Childhood Dream” surge ahead with frenetic drumming and burbling bass, tracing the boundary between management and give up like a chocolate mushroom journey alongside the French Riviera. Even when the drums on “Burning Man” turn into purposefully muffled in order to sound like they’re in a closet two rooms over, keyboard glissandos and a Per “Texas” Johansson flute solo preserve the music shifting on a heavenward trajectory.
There’s nonetheless thriller right here, however it’s much less about distance than transformation. Unclouded reveals how readability can coexist with psychedelia and the way groove can sharpen the emotional body fairly than smudge it. Wunder’s swish, deeply felt preparations are key to that proposition, as Prochet’s lyrics about impermanence and renewal, as soon as opaque, now really feel illuminated by the rhythm itself.
By the point the album winds down with the Stereolab-flavored “Damaged Roses” and the resolute “How To Depart Distress Behind” (“please be form,” she pleads), Prochet has seemingly mastered the artwork of staying current contained in the flux and dancing throughout the blur as a substitute of floating above it. All through Unclouded, the music breathes, the sentiments land and the vagaries of life are evermore illuminated.
