Lisa Busby’s ‘Fingers in the gloss’ shows how experimental music with sincere sounding vocals could be the perfect combination to get feelings across. On a music loop that sounds very warm and fuzzy that seems to grow and change either in reality or by imagination the artist sings her words of nostalgia ‘…they smell like a movie’ which eventually seems to turn the loop into the soundtrack of an authentic old Hollywood movie. It’s pretty much magic.
But Lisa Busby goes a step further in the experimental zone with ‘Hollow blown egg’. With electronic blend and blobs the ears will be greeted in a friendly way, until they make way for a synthesized base for Lisa’s voice to spin her vocal magic on. She sounds very intense, as if she is singing at close range to your ears and the words she sings are for you and your ears only. What I love the most is that it really is a duet between her voice and the sounds, when she stops the synth seems to get a bit grumpy as to say; please continue… It’s understandable as it’s not only intense, it’s also pretty beautiful.
The album then continues with ‘Cavity’ which goes perhaps even another step deeper into the zone of experimentation. Here we can hear Lisa Busby showcasing a scene if very minimal high crystal clear synth sounds that underlines a certain fragility while they do their thing.
With ‘One to ten’ the artist’s style really folds out in a almost slow jazzy ballad way that has emotions up high, and no jazz music involved.
Lisa proofs that it’s not always about courage but also if you have the ‘Bells’ to do it! Here ‘Bells’ track is superb in a way that it will bring you that familiar sound that we all know of church bells, but with experimentation the artist has found a way to recycle this sound into something completely new and it sounds refreshingly fun and positive.
Lisa Busby’s album is so very interesting, and it just keeps on giving! ‘Platinum ash rose gold’ seems like she has gathered tiles or perhaps plates or other things (after all it’s difficult to say with experimentalists at work like this!) and composes a rhythm out of it while a microphone input fills the gap with more mystery. She sings on top of this in this soothing whispery way, creating a strange mood in which it feels to me as if we are in a scene in which cups and cupcakes are very much alive.
The track ‘Little axewielder’ might damage your ears in a unsuspected way. Perhaps you are already unable to hear the extreme high tones in this track, but my dogs are watching me with a look that seems like they want to have a pair of hands to protect their ears. But admittedly this is what experimental music is all about; not always there to please but always searching for new things and pushing the limits.
The very interesting album goes off with a lengthy pleasant track named ‘Fleeting video screen’ which goes for a nice palette of warm crackles of little noise, and a moving base that could be made in different ways but somehow I imagine it being done with a microphone and a dinner plate… But as the title of the track suggest this vision might be entirely wrong as it could be the artist experimenting with a fleeting video screen. The only way to find out and be sure what it is that we are able to hear over here is getting your hands on a physical copy of this album as it comes with a set of beautiful riso prints, depicting the places and objects used in the creation of the album. You can get (and hear) it over at the following link: