high places lp

A stark combination of modulated drum pads and a beautiful female voice constitutes High Places' tribal, hypnotic sound. The Brooklyn band, comprised of Mary Pearson and Rob Barber, opt not to use anything more than electronics, vocals and auxiliary percussion, and in doing so, have created some of the most refreshing music I've heard in a while.

The duo's singles collection 03/07 - 09/07 came out earlier this year and showcased their unique take on African rhythms set against layers of electronic effects. Their self-titled LP, set to be released at the 23rd by Thrill Jockey, expands upon what 03/07 - 09/07 established, and feels more confident in every aspect. Mary's voice is fuller, the music more diverse, the feelings evoked even more powerful, resulting in a cohesive beauty that acknowledges its predecessor and incorporates a newly formed vigor. No doubt touring and high acclaim has aided High Places in expanding their palette. Regardless of the catalyst, this album, which should be considered their true debut, will hopefully find them generating even more praise and a larger audience. 

10 songs totaling a half-hour exactly, the cd abounds with worldly sounds as diverse as Hindi strings, African drums, cascading harps and oodles of random percussion. Seemingly more a collage than an exhibition of musical prowess, High Places excel in creating art from varied backgrounds, united by a thread of positivity and Mary's alluring voice. "Golden" just might be my favorite track, with its entrancing, head-nodding beat and panning vocals. Two short instrumentals, "You In Forty Years" and "Papaya Year," further help the album in its blend of musical exploration and sonic creativity. Lyrically, it seems as if the duo is addressing themes of self-identity, as on "Gold Coin," the beauty that comes from destruction in opener "The Storm," and "Namer" tells of a protagonist eager to learn more about nature. However, postulation makes me think that High Places find more beauty in the human voice than in lyrics, which is not to insult them in the least. Rather, I think they understand the asset of vocals as another instrument and so utilize it to their full potential. Ending seemingly prematurely, the album never lingers too long in one place and leaves the listener learning for more. Though no one song sounds like another, there is an undertone of beauty that gives the album breadth, continually changing but never straying beyond random. And it is this same beauty that should find High Places acquiring the respect they deserve, both as innovators and creators of imaginative music.