Marielle V. Jakobsons, a player in many Bay Area drone outfits (Date Palms, Myrmyr, Portraits, et al.), presents a document of her solo capacity, Glass Canyon (the latest album to receive our Eureka! distinction). While the terms she’s most often pegged with — ‘sound artist’ and ‘drone artist’ — are decidedly nebulous, she shines as a composer with Glass Canyon. For this album, Jakobsons limited herself to primarily violin and synthesizer in an effort to focus “on where two timbres meet.” “Purple Sands,” the album’s opening track, is a great example, initiating the interplay between oscillators and bowed strings acutely, allowing each tool to relish in their strengths. The rich harmonics of the violin create a slow-moving airiness, while the synthesizer grounds the piece with pastoral textures that subtly slide underneath the strings. Listen here:
Glass Canyon is out now on Students of Decay.