A halfway house between Throbbing Gristle and Enya: Kelly Lee Owens collaborated with the noise artist Lasse Marhaug on her third album. The result seemed so different to her previous works that the Welsh artist gave the album the name »LP.8« and rooted it very far into the future of her own discography. In fact, »LP.8« is distinctly marked by noise. The electronic euphony of the first two records has given way to a maelstrom of many influences and sounds. This goes beyond the opening track »Release«, which loses itself in repetition and causes unrest with its stoic beat. Again and again the spherical moments break into a nervous convulsion in the sound. There are islands of minimalist ambient like »Olga«, but ultimately this album requires more work to listen to it than any of Kelly Lee Owens’ predecessors. Even a track like »Nana Piano« creates a queasy atmosphere in this context, even though it only features a piano dropping a few notes. On »Anadlu«, Owens still manages to wrest melody and rhythm from a drone sound, making these eight minutes the most intense of the album. »LP.8« is an enraptured experience, a retreat into the innermost, in order to find infinite expanses. God knows there have been worse soundtracks than this.
Actress
Statik
Smalltown Supersound