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Your support makes all the difference.Such work as I have seen from the Spanish movie director Bigas Luna suggests something of a less camp Almodovar, his images replete with glistening ripeness, ham and heat and bulging sexual promise. The kinds of things, in other words, ostensibly least suited to the delicate neo-classical tints and hints of Piano Magic, which soundtrack his film Son de Mar. Despite a revolving-door membership policy, the six untitled tracks of Son de Mar were recorded by the band's core unit of Glen Johnson, Miguel Marin and Jerome Tcherneyan, with little help other than from James Topham, whose viola parts on Track 2, layered over waltz-time harp arpeggios, evoke a mood akin to John Cale's classical jeux d'esprit on The Academy in Peril. Some pieces are little more than tone-poem sketches – two minutes of ticking clocks slipping out of sync over noodling celeste (track 3), or one and a half minutes of lachrymose strings (track 4) – while the three more substantial pieces develop a palette of chimes, synth or organ pads, cyclical guitar figures, spartan percussive parts, church bells and a shoreline ambience of wind, water and waves, with cello or celeste inscribing weary wisps of melody here and there. The overall air of tasteful impressionism makes for surprisingly successful summer listening, its semi-ambient tones offering a more relaxed holiday experience than the bangin' Ibizan norm.
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