Sometimes, music transports us to a place so far from reality, it can feel like an out of body experience. Other times, music invites us to reexamine our lived experiences, keeping us firmly grounded in our own field of perception. BODY SOUND (Mar. 20, International Anthem) presents the listener with a compelling union of these two directives; the debut album from Whitney Johnson, Lia Kohl, and Macie Stewart is at once engagingly familiar and aesthetically invigorating.
Johnson, Kohl, and Stewart are a powerhouse trio of improvisers with far-reaching expertise in genres ranging from indie rock to experimental avant-garde. And yet, BODY SOUND is more than the sum of its impressive parts — it is a cohesive album that urges us to slow down and bask in the beauty of sound.
Each track blends the voices of Johnson, Kohl, and Stewart with their corresponding string instruments of viola, cello, and violin. Ample long tones, slowly shifting timbres, and layered textures project a kaleidoscope of colors and sonic qualities that ensure every moment remains just as fresh as the last. When patterns are apparent and yet nothing is exact, the ear is drawn to vibrant minutiae that signify variation: a slight warble in a long tone, an emerging frequency, or a new composite rhythm that bubbles out of several layered elements.
Since BODY SOUND is rooted in improvisation, it retains a sense of rawness and fluidity that would otherwise be difficult to manufacture. And yet, there are no loose ends or untidy sections to be found in its polished and sculpted presentation. With an extensive post-production process involving multiple tape machines and outboard effects, the trio expertly balances on the edge of freedom and control.
The opening track “dawn | pulse” gently reveals a rich sound world that emerges from droning strings and later builds in complexity as airy vocal layers float in. The sonorous texture shimmers and shifts like a sunrise, completing a singular and satisfying dramatic arc across its six-minute duration.
Just when I started to wonder if the entire album would feature drone material, the ostinato rhythm of “laundry | blood” kicked in with a timbre reminiscent of the prepared piano in John Cage’s Sonatas and Interludes. The texture here is darker and more sinister, which provides a welcome counterpoint to the luscious consonance of the album’s opening track.
BODY SOUND continues to explore the intersection of droning soundscapes and more active, rhythmic textures as it oscillates between the two core material groups. And yet, each track introduces enough unique characteristics to preserve a clear sense of identity. A bright pizzicato groove underscores “paper folding | disappearing” even as vocal motives rush in and an embellished cello solo floats on top. Heavy frequency filtering sculpts the glacial emergence of harmonic material in “snow | touch” as our sense of proximity warps between near and far. And “shadow | mess” mimics the slow churn of a dark whirlpool as deep cello tones are speckled with glittering harmonics and distended siren song.
With BODY SOUND, Johnson, Kohl, and Stewart offer listeners an experience that is intimate and expansive, familiar and otherworldly. A perpetual feeling of motion breathes life into the album, which achieves a commendable level of polish that belies its improvised roots. With a blend of heartfelt intuition with masterful design, the introspective project invites listeners to sink into the present moment and remain fully engaged, both in and out of body.
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