What's the furthest thing from noise? Silence, of course, especially the chill, ultimate stillness of the cosmos, it's endless walls running down dreams and stories until they're nothing. Eric San also used to make noise, mainly by taking pieces of black plastic and making them performers, shifting their purpose by making their structure liquid, atomised.
So after roughly twenty years of turntablism, how you wandered could the Montreal scratcher paint himself into a new backdrop. The answer ? By inversion, of course. Named after an art festival with a self-descriptive purpose, San found himself providing melodic inspiration to the gathered illustrators in the form he says of "records I enjoy drawing to, often music that was too slow or quiet to play in a dance floor situation", going on to explain "I started incorporating other instruments into the mix to create live ambient pieces during the night. A lot of these experiments would become templates for this recording."
When placed in its rightful context Music To Draw To is not on that basis then not so much of a departure as it might first appear. San's choice of collaborator is given his purpose a little less obvious in Icelandic singer Emiliana Torrini, a flaxen-voiced bard who released one of last decade's most mildly disregarded hidden treasures in 2008's Me And Armini.
Most of the time reviewing records isn't the same experience as consuming music; I realise this might sound a bit counterintuitive, but usually you're scrabbling around for an appropriate metaphor to describe the latest Alex Turner aphorism, or attempting to understand why so many people thought Dirty Pretty Things were any good. Every so often however something arrives that isn't loaded with unfulfilled expectations, a release asking only for an open mind and with pure hearted simplicity, it allows you unplug from the whole reviewing music thing. Despite having too many vowels for it's own good, Emiliana Torrini's Me and Armini is one of those musical red squirrels.
Continue reading: Emiliana Torrini, Me and Armini Album Review