Originally issued on CD in 2009 and now reissued on double vinyl with additional tracks, Without Sinking is the second album from this Icelandic cellist (who has worked with the likes of mum and the Hafler Trio). Hildur’s subtly treated cello and zither compositions are only enriched by the vinyl format, adding an extra layer of warmth and emotion to her already powerful works.
Unlike a lot of other artists who work with a singular instrument as a sound source, Hildur uses only the most subtle effects and treatments of her cello, often using only layering to build the sound up to an intensity that never loses its sonic color, but sounds like far more than is actually there.The slowly building sounds of "Elevation" transition from a simple cello passage to a paring of bassy low-end drone and sad, howling high end bits that could be an entire orchestra of musicians.
At times, the rhythmic throb of traditional cello playing evolves into a heavy, film score like intensity, such as on "Erupting Light" and "Opaque."On these two pieces the rhythmic underpinning is matched with higher register passages, leading to a dynamic, rich composition.It is during these moments that Without Sinking is most song-like.
During other times, the pieces are less about compositional structure and more about indulgence in sound."Circular," for example, has a frozen, monolithic quality to the cello that is offset by twinkling zither notes, but for the most part resembles the breathing of a massive, prehistoric creature.The sparse, outstretched notes of "Whiten" are over a bed of arid ambience that is more open, but also sad in comparison to most of the other pieces."Unveiled" moves at a snail’s pace, but using a greater variety of sounds other than just cello, which takes a backseat to bass and electronic instrumentation.
This newer double LP edition includes three additional tracks that were not included on the 2009 CD issue."Baer" feels like the natural follow-up to "Unveiled," but with an added emphasis on cello above the otherwise gauzy tonal clouds."Iridescence" also takes on a similarly slow pace, but with a greater emphasis on bassy tones and gentle ambience.The most different is "Heyr Himnasmidur," which drops the cello to make way for piano, bass, and Gudnadottir's delicate, beautiful voice.While it feels a bit odd in context with the rest of the album, it works in its own unique way.
The careful use of effects and digital processing keep a certain natural beauty to Hildur’s playing, but put just enough of an edge on it to set it apart from other cellists.The additional songs are not just filler, but help to further flesh out an already well developed album.
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