Music / folk

Grid of points


Reviews (4)


Drowned in sound

d. 1. May 2018

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Benjamin Bland

d. 1. May 2018

"Harris has built a firmly underground (yet intensely powerful) career out of exposing the very core of her being to the elements. Grid of Points is the sound of what's left after the winds have subsided. It's astonishingly beautiful and astonishingly, painfully real".


PopMatters

d. 2. May 2018

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Colin Fitzgerald

d. 2. May 2018

"Despite the more exacting name, Grid of Points is far less interested in rendering muted impressions of physical spaces and instead bent toward seeing traditional songwriting forms through the process of careful decomposition. The "ruins" of the album aren't the semiotic representations of homes and personal spaces of its predecessor, but instead fragmented versions of broader cultural comforts: piano ballads, hymnals, and lullabies, all abbreviated, compressed, or otherwise in a state of decay. Grid of Points sees human memory and emotion tied inextricably to that classical musical framework, and it captures both the wonder those forms evoke and their limitations in equal measure".


Pitchfork

d. 30. Apr. 2018

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Meaghan Garvey

d. 30. Apr. 2018

"The seven songs on Grid of Points, the latest album from Liz Harris, were written and recorded in a week and a half during a residency in the wide-open space of Ucross, Wyoming in 2014. She describes the process being abruptly halted by sickness, like a sign from the world that the album was complete despite its slightness. Or rather, because of its slightness ... The sparseness of Grid of Points creates a sense of hyper-awareness; as such, I've found it hard to listen the album seated in front of a laptop, compelled instead to wander out into the world".


Information

d. 4. May 2018

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By

Sophia Handler

d. 4. May 2018

"Med Grid Of Points har Grouper tydeligvis villet forenkle sit udtryk. Tangenterne belægger øregangene med elfenben, mens vokalen skælver af længsel efter at vende tilbage til det simpleste, lydlige stillbillede af en kvinde ved et klaver. At placere et værk på disse skrøbelige pæle kræver præcise forskydninger af balancen for ikke at falde til jorden. Men den komplicerede enkelhed i forbindelserne mellem sang, tangentspil og nedtonede reallyde skaber en konstant ligevægt. Numrene virker som de flygtige glimt, man kan få af et dådyr, når det baner sig vej gennem buskadset. Bagefter har man det som om, man er blevet særligt udvalgt til at overvære dette øjeblik af betagende naturlighed".



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