The OHMA duo from Los Angeles (Composed of Mia Garcia and Hailey Niswanger) offers us an album of rare harmonic richness which invites us to attach ourselves to a set of small details which often tend to escape us, thus echoing this reflection of Paul Valery: "You say that the grass that grows or that a day that rises make no noise, you don't have a very good ear" and reconnecting with certain intentions of Ravel in Daphnis and Chloé Part III Sunrise: those sunny dust particles that settle on a cold morning; the swaying of tree branches between them in the wind; the distant sounds of nature and human life intertwining.
Between All Things was designed to elicit active listening. Its organic and lush appearance gives the impression of having been composed in the heart of the Garden of Eden. Meditative and calm, but full of life and color, it is an evocative concept album that summons kodachrome imagery and brings us back to both childhood memories and an ideal vision of our future.
At the time of the lazy sample, one is struck by the quantity of instruments put at the service of the subject and the harmonic richness which weaves a dense and heady web without ever giving the impression of being agitated. The ethereal woodwinds, the sensual saxophones, the filtered percussions, the contemplative piano and the agile guitar figures fit together in a perfectly mastered entanglement. Filled with details, each of the compositions has its share of playfulness and unexpected turns with a constant in the rhythmic progression ensured in turn by the bass lines and the different percussions. The wind instruments are interposed like layers of unctuous cream in a thousand sheets concocted by a great chef and the use of electronic programming is always done with accuracy and parsimony.
Between Spiritual Jazz and Folk seventies tinged with ambient and dusted with primitive rhythms, Between all things is a goldsmith's album conceived by two seamstresses of sound to listen to in one go and then on a loop.