BY STEPHANIE ESLAKE
What even is ambient music, anyway?
Some would consider it music to sink into the background; a kind of atmospheric and calming soundscape for a crazy-busy world.
But while ambient music may indeed have these qualities, Mary Lattimore reckons you should listen a little more actively. And it makes sense; she’ll be applying her classical training to work a 47-string harp into an ambient feast as part of the Dark Mofo festival.
We’ll be there, and we’ll certainly be listening with our ears and minds open.
This American harpist will unite with composer Julianna Barwick to perform “radiant ambient music” featuring dreamy choral symphonies and synths at Dark Mofo. The 23 June event is aptly titled Mary Lattimore + Julianna Barwick (yep, it really is).
We asked Mary to tell us all about the show.
Mary, what do you think makes a piece of music ‘ambient’?
I don’t think it’s necessarily music that’s supposed to be like furniture, or to slip into the background while you work on something at the office. It doesn’t have to be that passive, in my mind. But I do think that it’s music that subtly is absorbed into your subconscious without too much dissection; kind of glowing, activating something within.
The word ‘ambient’ kind of reminds me of the air in the room, where you appreciate it and you don’t really know how it’s affecting you below the surface, and don’t want to analyse it too much because the act of breathing is such a basic joy.
Now, we talk about ambient music, but you’re a classically trained harpist. How and why did you break out of the ‘classical’ world and use your training to play, well, whatever you want to play?
I think I was really hard on myself mentally when I was studying classical music; not being good enough and not playing something technically perfectly. It feels really nice now to have absolutely no rules at all and no wrong notes.
When I started to get more adept at improvising, I lost my stage fright. I breathed a sigh of relief. As much as I love classical music and discipline, I also love the feeling of feeling fearless in certain ways when playing my harp.
Harp is certainly an instrument synonymous with a classical idea of beauty. Also, it’s a comparatively rare instrument, particularly in the contemporary sphere. What do you think makes it an instrument that works so well for the newer music styles you perform?
I think there are endless possibilities with the harp, possibilities that haven’t been explored. It’s basically the only instrument I know, and I know it very well. But there’s mystery there too, when you add effects and loops and contemporary factors.
I like the forward motion; thinking about taking the ancient instrument with me into the future like it’s a companion. I’m looking forward to seeing the musical styles morph into something even newer.
You’ve decided to team up with Julianna for your Dark Mofo event. Talk us through the concept behind this collaboration. What lies behind the “radiant ambient music” and why did you want to team up?
We’re really good friends but haven’t improvised together very much, so it seemed logical to try to create new little vibey confections in such interesting places as New Zealand, Australia, Japan, and [specifically] Tasmania. It’s really cool to get to take a trip with a friend who is like a sister, and to also get to play and hear some beloved music too.
Word has it that you’ll each go it alone and perform a solo set. How will this work, and why did you choose to separate your music as part of your singular event?
We both enjoy playing solo but also with groups/duos and improvising, so this gives us a way to scratch the itches of playing our own pieces — maybe slightly more controlled — and then to take a little improvisational journey. It’s really fun.
What do you most love about Julianna Barwick?
She’s very generous as a person and as an improviser. I think she’s such a natural musician, and it comes from singing her whole life from the time she was small.
There’s nothing pretentious or false about Julianna. Her pieces and layers feel all very organic, even when she’s working with electronics. I was a fan before we were friends or collaborators, and that fandom remains.
What are you most looking forward to when you hit up Dark Mofo?
I’ve never been. I think my friend Stephen O’Malley is playing the night before us, so I’m looking forward to his set and also to see the museum. I have heard how amazing this festival is, and can’t wait to check out Tasmania, too! Feeling very lucky to be invited to play.
And finally, I have to ask: how do you get a 47-string harp to the gig?!
They’re renting one for me, luckily! It’s so luxurious to not have to worry about logistics this time. I really appreciate it!
Chill out to Mary Lattimore + Julianna Barwick at Dark Mofo on 23 June. The two will also perform at the Red Rattler Theatre on 26 June (with Ears Have Ears), and Melbourne Recital Centre on 29 June (with Roger Eno).
(Credit: Dark Mofo/Jesse Hunniford, 2019, courtesy Dark Mofo.)
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If you like, you can give thanks to Stephanie for volunteering her time for Australian arts journalism. No amount too much or little 🙂
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Images supplied and courtesy Dark Mofo; Mary (featured) captured by Jackie Lee Young.
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