about the record
Combining digitally-processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Saxl’s The Blue of Distance begins as a meditation on the effect of technology on our relationship with land/nature/place but ultimately evolves to be more of a reflection on longing and memory. Half of the album was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter.
The phrase "the Blue of Distance" was coined by Rebecca Solnit in A Field Guide to Getting Lost and refers to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance.
- 1 - Before Blue 1:32
- 2 - Blue 9:56
- 3 - Wave I 2:32
- 4 - Wave II 2:40
- 5 - Memory Of Blue 11:39
- 6 - Wave III 3:42
- 7 - The Blue Of Distance 7:06
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- 1 - Before Blue 1:32
- 2 - Blue 9:56
- 3 - Wave I 2:32
- 4 - Wave II 2:40
- 5 - Memory Of Blue 11:39
- 6 - Wave III 3:42
- 7 - The Blue Of Distance 7:06
about the record
Combining digitally-processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Saxl’s The Blue of Distance begins as a meditation on the effect of technology on our relationship with land/nature/place but ultimately evolves to be more of a reflection on longing and memory. Half of the album was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter.
The phrase "the Blue of Distance" was coined by Rebecca Solnit in A Field Guide to Getting Lost and refers to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance.
