Luminaries & Synastry

by Motion Sickness of Time Travel

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about

Motion Sickness of Time Travel's Rachel Evans has had an incredibly busy year but finally returns to Digitalis with the proper follow-up to 2010's acclaimed Seeping Through the Veil of the Unconscious. Over the course of numerous limited releases, Evans has showcased her immense talent to construct floating sound worlds that immerse the listener in an aural cocoon. With Luminaries & Synastry, she is ready to unleash a whole different kind of voodoo.

Recorded through the latter part of 2010, Luminaries & Synastry represents Motion Sickness of Time Travel's most focused and definitive work to date. These songs are darker, more condensed and dialed-in than ever with Evans voice sitting even more prominently in the mix. Her synth work is effortless and mesmerizing, adding the perfect accompaniment to her vocals which are, as ever, the star of the show.

On the opener, “Luminaries,” rhythmically hypnotic synth chords float underground while Evans pierces the darkness with her voice. It's perfect foreshadowing for what is to come on the rest of the album. Its sister track, “Synastry,” is minimal and haunted. It revels in its simplicity, finding a perfect balance of grounded effervescence and astral projection. Taken together, the combined forces of “Luminaries” & “Synastry” are a bittersweet title set.

Skeletal rhythms and sunburned arpeggios return on album centerpiece, “Day Glow.” Dripping in miserable beauty, the song takes vague kosmische nods and paints a thick coat of sublime whimsy to fill all the cracks. When it reaches its peak it is absolutely devastating. Everything in this song embodies all the best things about Motion Sickness of Time Travel.

Heading toward the finish line, bombarded by gorgeous, revolving synthesizer passages on “Eight Nineteen” and the blissed-out “The Walls Were Dripping Stars,” it's clear that Luminaries & Synastry is something quite special in the ever-expanding discography of one of 2010's finest new voices. Even though only a year has passed since her last opus, this is a massive leap ahead.

credits

released 23 June 2011

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