"Eventually, Saxl says, she "made friends with the longing." And while that process may sound as much like an academic experiment as a compositional method, you needn't have any knowledge of Saxl's conceptual framework to appreciate her strangely beautiful music, woodwinds and synthesizer and nature samples all arranged in bucolic bliss. To my ears, it sounded like the arrival of an uncommonly inventive composer, one operating in some mysterious place where ambient and modern minimalism meet."
"Though he's performed with mainstream pop names like Miley Cyrus and Haim, Solomon is rooted in the L.A. jazz scene, and at ease with the roiling chaos of live improvisation. Saxl, by contrast, is accustomed to a more methodological style, plotting out every note ahead of time. Here, using analog synths while Solomon flits between baritone saxophone and bass clarinet, she shakes off the conceptual rigors of her previous work in favor of a looser, jazzier approach, and the results are airily sublime."
Elori Saxl's earlier work contrasted compositions written during a joyous Adirondack summer and a bleak Wisconsin winter, capturing attempts to recapture warmth and an eventual acceptance of longing. On Seeing Is Forgetting she collaborates with saxophonist Henry Solomon, combining her methodical, pre-plotted synth approach with Solomon's improvisational L.A. jazz sensibility. Solomon moves between baritone saxophone and bass clarinet while Saxl employs analog synths, woodwinds, and nature samples. The collaboration produces looser, jazz-inflected ambient minimalism that emphasizes presence, warmth, and airy, sublime interplay between composition and live improvisation.
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