"My Voice Would Reach You is the third album by Talbot Fade, made with love and warmth for Don't Drone Alone. Borrowing its name from a short and quietly traumatising video installation by artist Meiro Koizumi, it is a deeply personal exploration of grief, acceptance, dreams, maternal influence and communication across astral planes. It was written in the year following the passing of the artist's mother, and while ultimately still created as a collection of comforting music, it doesn't shy away from confronting and even embracing the sheer nightmarish horror of the abyss orphans find themselves in the aftermath of such immediate and staggering loss.
Influenced by music from his mother's music collection, alongside his usual comforts found in the darkest depths of roleplaying games, great bodies of water and flickering, fading embers, My Voice Would Reach You sees Talbot Fade at his most fragile, but also at his most inspired. A collection of four lengthy meditations that channel love, care, gratitude and solace into messages that seek to transcend dreams, nightmares and the waking world, ushering lost souls into a new childhood."
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As far as dream pairings go, they seldom get much more mouthwatering than Yaroze Dream Suite, the meeting of two instrumental grime's most futuristic minds; Miles Mitchell (aka Mr. Mitch) and Yamaneko. Constantly eager to discover new ways of pushing the genre, forward their eponymously-titled EP is an intoxicating mixture of melodic simplicity and percussive inventiveness that seems to act as both a fond farewell to grime's past and a tantalising glimpse of we what we might expect from it next. "In The Moonlight", for example, hitches the soulful vocals of Hannah Mack to theatrical steam organ stabs and just enough claps to keep the track from simply floating away. "Awakening", however, acknowledges grime's past with much gun-cocking and drums that sound like uzi bursts, but where once that would be the cue for a gruff MC to unmuzzle his paranoid angst and ratchet up the tension yet further, a mournful synth melody which gradually increases in volume as the track progresses creates an aural paradox which could be descriptive as the EP as whole. It's a mesmerising record and with new solo albums from Mr. Mitch and Yamaneko just around the corner, I for one am drooling at the prospect of what grime's next Great Leap Forward might have in store. Niccolo Brown