![]() ![]() ![]() Despite their quiet nature, these are ambitious, layered, memorable songs for the ages. The quietly suggestive presence of Sakini’s music evokes ciné-rich scenarios and vignettes from a careful paucity of ingredients to limn scenes of lonely existential angst and hypnagogic dreaminess that contrast with ruffer cuts of late night trip hop and nerve-bitten breakbeats that resemble a makeshift coffee table strewn with bits of baccy and weed, mug stains and unpaid bills, rather than unwieldy art books and pot pourri. ![]() Listening to ‘Vivienne’, followed by this one, feels a bit like emerging from a small room - curtains drawn - into the outside world for the first time in a while. 'Into the Traffic, Under the Moonlight’ is no doubt woven from the same fibre as Laila's ‘Vivienne’ album - one of the records we listened to - and loved - most last year, but it expands on its minimalist palette of piano, voice and effects to include more instrumentation, samples and full bodied arrangements. ![]() Featuring Laila’s voice, plus piano, samples, cello, bass clarinet, flute and handclaps, it’s a totally unique late night/intimate pop anomaly that sounds to us something like the missing link between Grouper, Bohren & der Club of Gore and The The’s Soul Mining. Originally a tape-only companion piece to Laila Sakini’s quietly stunning ‘Vivienne’ AOTY contender last year, 'Into the Traffic, Under the Moonlight’ now gets a standalone vinyl release, newly mastered by Rashad Becker to provide us with a chance to swoon at its endless, quiet charms from a new perspective. ![]()
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