“Halo” – Mary Knoblock
Artist: Mary Knoblock Album: Halo Genre: Avant-Garde, Ambient Release Date: February 29, 2024
Enigmatic and unrestrained, Knoblock’s voice sweeps through a landscape of swirling sounds with an allure akin to a siren’s call. Each track, drenched in reverb, carries a weighty resonance that seems to envelop the listener from all sides, evoking a sense of disorientation amidst its heartfelt and haunting melodies. As one immerses in the sonic journey, the album cover, featuring a woman with outstretched wings seated in a misty forest, emblazoned with the word “Halo” in gothic script, adds layers of symbolism, hinting at themes beyond the ordinary.
The religious undertones woven into the imagery contrast sharply with the darker essence of the music, leaving the audience to decipher the intricate interplay of light and shadow within each composition. Opening with the titular track “Halo,” Knoblock sets the stage for an exploration of the surreal and subconscious realms that lie at the heart of this compelling album.
Fearless in her experimentation, Knoblock manipulates frequencies with finesse, transforming simple piano notes into orchestral crescendos while allowing others to fade into the background, all the while maintaining a consistent vocal presence. This natural fluidity lends an organic allure to her compositions, exemplified in tracks like “Oh Most Beautiful Flower of Carmel,” where the unhurried pace of her piano playing exudes a quiet authority, inviting listeners to surrender to the music’s gentle cadence as if she’s delivering a well-rehearsed speech.
Throughout the album, Knoblock crafts expansive sonic spaces, defying conventional production norms by immersing each track in reverberation. Whether intentional or serendipitous, this choice imbues her lyrics with a sense of depth and intimacy, as though delivered from within the very chambers of the listener’s soul. In tracks like “Chrome,” the ethereal quality of her performance transcends the confines of traditional mixing, inviting audiences to revel in the atmospheric richness of the sound.
The latter half of the album introduces the “Avant Garde Versions,” pushing the boundaries of ambiance even further. These are far from traditional “songs,” they’re tapestries of sound, stretched out over a period of time. To speak to the album’s theme, these songs conjure images of “biblically accurate angels” and their shapeless, ever-changing, overwhelming nature. They’re intense. Especially “One – Avant Garde Version.” The sounds wrap around you and shift in pressure and intensity, with her voice sitting in the middle of the space like a siren. Listening to them feels like you’re really beholding something, rather than just listening to a song. This is clearly Knoblock’s bag.
Amidst these experimental forays, tracks like “The Wanderer” serve as brief interludes, offering a moment of respite before plunging back into the depths of Knoblock’s most abstract composition, “Saints Prayer – Avant Garde Version.” Here, echoes of The Caretaker’s “Everywhere at the End of Time” resonate, as both albums explore the ethereal realms with an unyielding commitment to pushing the boundaries of musical expression. Perhaps a facet of Avant-garde music of this style is a pull into the spiritual. When exploring sounds this big (cathedrals, droning pads, chanting melodies) it may be inevitable that the music seeks some meaning in a greater will. Maybe there’s some innate connection there. Then the song fades into a whole minute of repetitive church bell. You tell me.
“Halo” is undeniably unique. If you feel your music is growing stale–maybe shuffling liked songs hasn’t been hitting the same recently–then give this a shot, and see what you think. I believe it’s not for everyone, but this is one of its many strengths. It’s uncompromising as a clear vision of a singular artist–that’s interesting enough on its own–and you will get out what you put in, so give it a real chance. If it’s not your style, you’ll come away having listened to an album that you won’t forget for a long time. If it is your style, check her out on socials: Instagram, X, Facebook, Website
Featured
Natalie Clark’s “Nothing Left to Lose” marks a return to her acoustic roots, yet it never feels small. Instead, it’s a track that swells with emotion and urgency, capturing the very essence of confronting fear and anxiety. Co-produced with Todd Spadafore, the song strips back the production layers that defined her recent work, letting Clark’s agile vocals take center stage. And it’s in that vocal delivery—raw, vulnerable, yet undeniably powerful—that the song finds its true heart.