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Backed by light-though-undeniable rhythmic effects, Lisbeth Scott's lushly ululating voice streams into the synthorchestral swells of Veni Redemptor Gentium; a gorgeous convergence of timeless elegance, modern beats and stunning vocal powers. Soft synthclouds and subtly percolating e-percussion back Amazing Grace (6:42)... yes, that Amazing Grace, given an electronic/new age twist and topped by Scott's emotive phrasings.
The Joyful Company of Singers lend their wafting multi-voiced choirsounds to Miserere, a smooth variation on the chants-and-dance theme... heavenly!
Majestic chamber music (with Gavyn Wright and David Theodore contributing violin and obe) swirls in beatless neosymphonic splendor in
Auguries of Innocence: Part 1, picking up hip-hop inflections as it becomes temptestuous Auguries of Innocence: Part 2.
Then there are the songs... expertly-produced, though overtly contemporary/new-agey. Schwartz' classical piano wanderings make a bed in which Scott lays the plaintively-delivered words of Be Still My Soul. Sweet melancholy oozes through the crooned Latin verses of beautiful Angelica, laced with rippling electronics and brooding strings. Tweedling flutes shine with polish as
Simple Gifts traipses into a (too) chipper blend of pop, Irish and new age.
Violin and piano join for State of Grace (3:09), a beatless musical interlude... following a brief silence, a "hidden" track emerges; a vocal-free version of Miserere soaks in a cool, lightly pattering groove and pitch-bending synthleads.
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