All music has an atmosphere. I’d go so far as to say it’s a central aspect of all musical meaning, although it’s obviously not the only meaningful element in music. Words, melodies, harmonies, rhythms, timbres and so on, all have their particular capacities, but the atmosphere of a piece of music falls somewhere in the cracks between all these things. There’s a sense in which that elusive quantity, musical meaning, is the same thing as mood or atmosphere, in as much as meanings are in the experience of listening, and music that addresses itself directly to atmosphere is cutting straight to the chase in some respect.
I’m not sure what Marie Craven is sorry about. Without overcoming my innate laziness and conducting a proper analysis of the lyrics, it’s hard to say whether she’s expressing regret, making an apology, or meditating on the nature of transgression. In fact the title is a little ambiguous itself: does it refer to a transcendence of the terms of transgression, or a violation of surpassing seriousness? Either way, bracketing this release with two versions of its title track makes her mournful declaration a key aspect of its meaning, and the structural linchpin of its narrative arc.
Marley Butler makes music of remarkable clarity: his soundscapes are usually clean, open affairs, in which the boundaries between sonic elements are clearly defined; his rhythms are regular, precise and simple; ideas have room in which to breathe, and although he does not overuse spatialising effects such as reverb and delay, the worlds he creates are three dimensional ones. He’s not bucking the trend with this two track release, and why should he?