The pieces on this album are indeed highly atmospheric, but don’t let this lead you to believe that ambience is all, or even principally, what the music is about. The principal quality of these tunes, their defining feature, and the central locus of Lawson’s creative effort, is melody.
This is a five track collection of material Simon Little elected not to include on his forthcoming second album. These decisions were not made because the tunes didn’t make the grade, but because he felt they weren’t a good fit: they are, however, a good fit with each other, and represent a convincing development of his work on Mandala
One of the tracks on this album is titled ‘Ohm Is Where The Art Is’: it’s awfully tempting to run with that, and build a critical edifice around the idea of ‘ohm’ signifying a metaphorical sense of impedance or resistance, but to be honest, I’m pretty sure Simon Little’s artistic strategy is more straightforward than that. He doesn’t ask us to swallow anything that’s difficult to digest, or set out to challenge our ideas about music, but that’s not to say that his music isn’t experimental or progressive: it’s both.