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HAROLD BUDD

Progressive Electronic • United States


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Harold Budd biography
Harold Budd is a contemporary artist initially formed in jazz and improvised music. He is also a piano player. He first started his career in the 1970 as a professor at California Institute of Arts. He signed his first album on Brian Eno Obscure label. After a successful collaboration with Brian Eno in «Ambient 2: Plateaux of mirrors» (1980) and in «The Pearl» (1983) he made a name in ambient space music. His long colourful soundscapes feature dense floating synthesised waves, contemporary neo-classical harmonies (using various acoustic / traditional instruments) and acousmatic sonorities. By reference to visual art, his music can also be described as abstract expressionist minimalism.

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Wind in Lonely FencesWind in Lonely Fences
All Saints 2013
Audio CD$9.82
$16.86 (used)
Moon & MelodiesMoon & Melodies
4ad / Ada 1999
Audio CD$8.89
$5.03 (used)
PerhapsPerhaps
Root Strata 2013
Audio CD$12.98
$15.57 (used)
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HAROLD BUDD - AMBIENT 2 / THE PLATEAUX OF MIRROR (IMPORT) NEW CD USD $36.70 Buy It Now 1h 30m
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HAROLD BUDD Fenceless Night RARE PROMO Compilation CD Ambient 1980-1998 XTC ENO USD $24.99 Buy It Now 6 days
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By the Dawn's Early Light by Harold Budd (CD, Jul-1991, Warner Bros.) USD $7.95 Buy It Now 9 days
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HAROLD BUDD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

HAROLD BUDD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.52 | 19 ratings
The Pavilion of Dreams
1978
3.91 | 55 ratings
Ambient 2 - The Plateaux Of Mirror (with Brian Eno)
1980
3.90 | 46 ratings
The Pearl (with Brian Eno & Daniel Lanois)
1984
4.44 | 12 ratings
Abandoned Cities
1984
3.97 | 10 ratings
Lovely Thunder
1986
3.53 | 9 ratings
The White Arcades
1988
2.12 | 4 ratings
By The Dawn's Early Light
1991
2.22 | 4 ratings
She Is A Phantom
1994
2.09 | 3 ratings
Through The Hill (with Andy Partridge)
1994
2.13 | 4 ratings
Agua
1995
4.00 | 5 ratings
Luxa
1996
3.96 | 6 ratings
Glyph (With Hector Zazou)
1996
3.03 | 5 ratings
The Room
2000
2.22 | 4 ratings
Translucence - Drift Music
2003
3.97 | 4 ratings
La Bella Vista
2003
2.42 | 7 ratings
Avalon Sutra - As Long as I Can Hold My Breath
2005
3.95 | 3 ratings
Music for 'Fragments from the Inside'
2005
2.27 | 2 ratings
Mysterious Skin - Music from the Film
2005
3.09 | 2 ratings
before the day breaks
2007
3.02 | 3 ratings
after the night falls
2007
4.00 | 2 ratings
A Song for Lost Blossoms
2008
2.67 | 3 ratings
Candylion
2009
3.00 | 1 ratings
Little Windows
2010
3.00 | 1 ratings
In the Mist
2011
3.09 | 4 ratings
Bordeaux (with Robin Guthrie)
2011

HAROLD BUDD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Perhaps
2007

HAROLD BUDD Videos (DVD, Blu-ray, VHS etc)

HAROLD BUDD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.51 | 5 ratings
The Serpent (In Quicksilver)/Abandoned Cities
1984

HAROLD BUDD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

HAROLD BUDD Reviews


Showing last 10 reviews only
 In the Mist by BUDD, HAROLD album cover Studio Album, 2011
3.00 | 1 ratings

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In the Mist
Harold Budd Progressive Electronic

Review by Neu!mann
Prog Reviewer

— First review of this album —
3 stars Harold Budd's year 2011 album presents yet another collection of ambient piano improvisations, but as usual with Budd the layers go far deeper than what first meets the ear. The album's thirteen tracks were organized into three arbitrary sections (sorry: movements) titled "The Whispers"; "Gunfighters"; and "Shadows", the last act being a set of understated string quartet arrangements, with no piano within earshot.

Unfortunately, the sudden shift away from the composer's primary instrument upsets the delicate balance of sound. A Harold Budd album works better with Budd actually performing on it, and when he does the impact (as here) can be spellbinding, in an almost subliminal sort of way.

The music is more effective when it grows more repetitive. Listen to "The Foundry" or to "The Art of Mirrors", the latter a kindred spirit of Brian Eno's "Music For Airports", evoking the empty passenger terminal after all flights were grounded in heavy fog. Budd has always been a master of sonic manipulation, and for these sessions his keyboard was muted thick enough to resemble an unplugged electric guitar, or else gently warped (in "The Foundry", and elsewhere) to suggest the sound of old vinyl on a malfunctioning turntable.

That subtle distortion might have been an accident of the recording process Budd decided to keep. The effect barely registers above a subconscious level, but it artfully subverts the serenity of the music and removes it from any suggestion of New Age superficiality. Ditto the sound of something like discreetly jangling cowboy spurs, in the Gunfighters title "Greek George": High Noon in the Mojave Desert sagebrush of Budd's childhood.

Minimalism doesn't always equate to meditative, and despite the overwhelming aura of calm the album will reward active listening, with a little effort. This is music that requires the right environment to blossom inside a listener's mind: the perfect convergence of weather, temperature, mood, and lack of background distraction. If any one condition isn't optimal the whole thing can come across as empty pretense. But even when it isn't working, Budd's piano technique is typically so quiet it can't help but hold your attention.

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 The White Arcades by BUDD, HAROLD album cover Studio Album, 1988
3.53 | 9 ratings

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The White Arcades
Harold Budd Progressive Electronic

Review by Dobermensch
Prog Reviewer

4 stars Mostly inspired, partly forgettable, around 75% of 'The White Arcades' is as near to perfect ambience as you could wish for.

Once again it took Brian Eno to squeeze out that extra creativity and statuesque sound that is sadly missing from a lot of Harold Budd's purely solo outings. Eno engineered this recording, but his presence is more prominent than that might suggest.

This was mostly recorded in Edinburgh of all places - not a city renowned for ambient music by any stretch of the imagination. This was through his connections with 'The Cocteau Twins' of whom he has had a long and fruitful relationship with guitarist Robin Guthrie.

Recorded at the ripe old age of 51 'The White Arcades' starts with the best tune on the album - it's self titled and displays a sense of foreboding. Cold and icy, delicately drifting textures punctuated by slightly piercing piano which act as rays of light above the bleak backdrop of foggy electronics.

It's not always this good... 'Real Dream of Sails' is a 6 minute piece which has old Harold pottering about aimlessly as droning keyboards flail like sails on a yacht. It doesn't really lead anywhere and sounds improvised.

He always sounds best when using huge delay on his piano. This he does on 'the Algebra of Darkness'. This could easily have appeared on it's predecessor 'Lovely Thunder' which is a bit darker than 'The White Arcades'. It does drag on a bit though.

'Totems of the Red Sleeved Warrior' enters the realms of miserableness but is all the better for it as floating long drawn out keyboard chords leave you contemplating beautiful thoughts or reminding you of the last funeral you attended. Eno is at large on this piece.

The boring track 'Room' is followed by the majestic 'Coyote' as that piercing Erik Satie piano takes centre stage. And the lovely outro 'The Kiss' sees things off to a nice conclusion with a pretty tune played yet again on piano as soft keyboards wash quietly in the background.

For old times sake I'm giving this 4 stars. It was one of the first ever cd's I bought in 1988 whilst still a sniveling art college student. It cost me big bucks back then and to this day it still sounds fresh and bright.

I just wish I could remember who once said: 'Sometimes I'm happy being sad'

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 The Pearl (with Brian Eno & Daniel Lanois) by BUDD, HAROLD album cover Studio Album, 1984
3.90 | 46 ratings

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The Pearl (with Brian Eno & Daniel Lanois)
Harold Budd Progressive Electronic

Review by tarkus1980
Prog Reviewer

3 stars I find the two Harold Budd/Brian Eno collaborations fascinating in that I enjoy both a good deal when I'm listening to them but struggle to articulate why I like them. This is especially interesting to me given that, for the most part, I tend to find more to dig out of ambient albums than many people do, both for albums that I like more than these and for albums that I like a good deal less. As on Ambient 2, this album is built around Budd playing rather sparse fragments of piano melodies, with Eno adding some embellishments through his production tricks and some nature sounds (this one also features Daniel Lanois helping out with production). Some of the tracks manage to evoke imagery consistent with their titles; for instance, "Late October" is a perfect soundtrack for walking from the train in the evening around that time, "A Stream with Bright Fish" has contrast between a droning underpinning (the stream) and bright flittery piano (the fish), and "An Echo of Night" somewhat calls back to some of the Apollo material. A lot of this, though, seems like it could have had any title attached to it and things would have been fine. I actually don't mind this very much; perhaps more here than with any of Eno's first-generation (roughly through Thursday Afternoon) ambient projects, this album is a series of Rorschach blots, and while the tracks don't tend to evoke something specific, they all definitely evoke something.

This sort of description may make this album sound like it's unbearable, or at best something along on the lines of Thursday Afternoon, which works as a catalyst for improving one's feeling of well-being but does little else. This comparison would be grossly unfair, if only because (a) the themes in the various tracks are pretty engrossing when they're on, and (b) the presence of 11 separate tracks forces some sense of variety into the album despite the consistent minimalist instrumentation. These are tracks that one experiences in a way that improves one's life in the moment (not in a "cheering up" sort of way, since the album's actually somewhat morose in tone, but definitely in an "adding depth" sort of way) but leaves little trace once it's gone, like a particularly enriching dream that fades into obscurity upon waking up. Even if you don't remember the dream, though, you remember that the dream was a good one, and likewise this album always leaves me glad that I listened to it (or to individual tracks from it that pop up when I'm using shuffle). If you liked Ambient 2, you'll probably like this just about as much.

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 The Pavilion of Dreams by BUDD, HAROLD album cover Studio Album, 1978
3.52 | 19 ratings

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The Pavilion of Dreams
Harold Budd Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars A conflict of interests.

In "Pavilion of Dreams" recorded in 1976, later released in 1978, Harold Budd's second known "solo" release, (his first "The Oak of the Golden Dreams / Coeur D'Orr, 1970 is missing in this page), harbored himself with, what was known in 1976 as "new age", top notch fellow musicians, Gavin Bryars and Michael Nyman, both as Budd, still active up to this day.

So what went wrong, as not to have achieved something, music-wise, far more "genial"?

The borders of, call it : "easy listenng", "new age" or "ambient" music , are kind of fragile but demanding. The musical structure has to respect those limits, in order to keep its goals. But as many "new agers" found out eventually, it is at the same time, a limited field of action, when it comes to the "colors" you are allowed to do with or as Brian Eno quotes: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting".

And sadly this effort is more ignorable, than interesting. It focuses on to many directions, but it does not really propose something new on none. Most of the setting of its moods, are "tingly" and "sparkly", the kind of sweet solutions, to a somewhat limited palette. The best is Marion Brown's saxophone lines, which remind me of John Coltrane's "super cool" long sax lines in the early 60's. The rest of the music relies to much on this kind of overly-sweet surfaces, that more than once are just plain mellow (or quiet uninteresting). The choral song ""Madrigals of the Rose Angel: 1. Rossetti Noise / 2. The Crystal Garden and a Coda", is the 5 star song, although it also suffers, the "twinkling" effect of the be it, glockenspiel, piano, celeste or harp, obsessively appearing everywhere.

Harold Budd eventually evolved, but here he is just gathering the pieces of his eventual and future musical "ambient" language.

***3 good, "promising" and that is it, PA stars

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 Ambient 2 - The Plateaux Of Mirror (with Brian Eno) by BUDD, HAROLD album cover Studio Album, 1980
3.91 | 55 ratings

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Ambient 2 - The Plateaux Of Mirror (with Brian Eno)
Harold Budd Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars The mere concept and achievement of these first 4 declared AMBIENT music efforts. Deserve 4 Progarchive stars. The bending of the language to all possible Eno wise structures; and the realization of getting others in the boat; is just like that full of merit. If not as musician involved directly as producer only. Ambient 3: "Day of Radiance" by a then not yet discovered talented composer who called himself : Laraaji. Like he did with others in all kinds of fields. (Ultravox a good example). This Ambient with Harold Budd has the kind of who owns the work "biz" hassle; I wont deepen into. The music is a very good example of how recognizable piano melodies that are rich and deep; without getting to that "sweetness" point the instrument itself leads you to; can construct without being protagonic a perfect non-piano structure with piano as lead instrument . Mr. Budd can be accused of "over-sweetening" some of his work . But in this work; both members hold each other tightly at watch; therefore become an undivisible unit in constant awareness of the fact that if they move away from the objective; the magic will dissolve as dust. Great considering this is not a one hour composition; but a different songs album; that aim to get the naked "non-corny serious side of piano playing" into a different environment than his own ; plus; the alway lavish touch of Mr, Eno well known antics... What can I say .. 4 stars; but really so are the other 3 albums in this collection.......like 4 different possible worlds; possible.

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 after the night falls by BUDD, HAROLD album cover Studio Album, 2007
3.02 | 3 ratings

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after the night falls
Harold Budd Progressive Electronic

Review by colorofmoney91
Prog Reviewer

2 stars Essentially a "part two" of the previous album, but with no new statements to make.

Before the Day Breaks was a decent album that proved that Harold Budd still knew how to create emotionally evocative ambient music, and Robin Guthrie's ethereal guitar tone added a little bit of variety when compared to Budd's back-catalog, even if the individual arrangements and the album as a whole had that stagnant "oh, this sounds like Harold Budd" aura. However, finishing up the first Budd/Guthrie duology (minus the soundtrack work) with After the Night Falls adds absolutely nothing new to their formula.

The mood on this album is slightly less of a gloomy overcast and more of a quiet, contemplative one. Though this is a difference in sound from the previous album, it's not very significant at all -- the compositions, though dreamy and ambient, more or less sound nearly identical to what was done before on Before the Day Breaks.

The drifting keyboards and guitars heavily effected with reverb weaving between dense ambient soundscapes are undoubtedly beautiful, which is an adjective that almost always appropriately describes Harold Budd's music, but there is absolutely nothing engaging about this album at all. So, background music? Yes, but it's not even very interesting in that respect either. Though the compositions on the previous album had some real feeling to them, these compositions never develop within themselves of within the context of the entire album's duration. The previous collaboration between these two musicians had two standout tracks, but I can detect none on this album, and it seems like this duo have finally run out of worthy ideas.

I really wanted to like this album considering that Before the Day Breaks showed some real promise, and the soundtrack to Mysterious Skin released before it showed even more promise. Unfortunately, After the Night Falls shows that promise breaking down and falling away. Following this album, Harold Budd and Robin Guthrie decided to take a break from each other for a few years, which I honestly have to say was probably the right call to make.

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 before the day breaks by BUDD, HAROLD album cover Studio Album, 2007
3.09 | 2 ratings

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before the day breaks
Harold Budd Progressive Electronic

Review by colorofmoney91
Prog Reviewer

3 stars Following Mysterious Skin, Harold Budd decided to again work with Robin Guthrie on a couple more albums, that are fairly similar to the former.

Before the Day Breaks follows in the same ambient vein as its soundtrack predecessor album, consisting of distant ambient keyboard, twangy clean-toned guitar picking, and floating ambient synths that consume the background while the two main instruments weave their sound within, creating an ambient style that is essentially extremely chilled out post-rock sans percussion and crescendos, and it kind of all sounds better that way.

The atmosphere created on Before the Day Breaks is very depressing, which I've always considered Harold Budd to be good at. The mood created here is very similar to that of The Room albeit a bit more dense as a result of slightly expanded instrumentation. Whereas The Room creates guided imagery of an empty room that overlooks a scene of beauty affected by some type of perpetual gloom, this album rather creates guided imagery of an abandoned house that has been left in ruins, but the past beauty of the construct is inherently obvious from the size of the lot and the overgrown garden in the field behind, and this is the soundtrack to traversing the ruins and assimilating the decrepit, mysterious environment.

Though, compared to Mysterious Skin, this album isn't varied much at all, even if the previous album also contained little variation. All of the songs tend to sound the same and, after the first few tracks, the differences between tracks seem to become less noticeable from sheer lack of interest. "Turn On the Moon" is the only track that stood out to me in the beginning because of it's light electronic beat that guides a gentle southern rock meets Goo Goo Dolls ballad type of guide melody, but overall is rather uninteresting. "She is My Weakness" eventually presented itself as a standout with it's odd staccato keyboard chords, but isn't necessarily a great song nor does it really add to my exaggerated atmospheric imagery.

But, compared to many artists in the ambient genre, Before the Day Breaks shows that Harold Budd remains more competent at the art of creating affecting atmospheres through the bare minimum of chord progressions that direct profoundly dense atmospheres than many other artists could dream of creating. Though there isn't any intense musicality to be impressed with here, it's a pleasant listening experience and an emotional journey if you allow it to be.

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 Mysterious Skin - Music from the Film by BUDD, HAROLD album cover Studio Album, 2005
2.27 | 2 ratings

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Mysterious Skin - Music from the Film
Harold Budd Progressive Electronic

Review by colorofmoney91
Prog Reviewer

2 stars Coming from someone who has not seen the film counterpart to this soundtrack, and judging this album as music alone, there really doesn't seem to be anything special here.

This soundtrack for the film of the same name, Mysterious Skin is yet another collaborative effort that definitely does not live up to the somewhat experimental or stylistically different previous collaborations, but still offers up a decent serving of deeply ambient piano impressionism from Harold Budd along with Robin Guthrie (from Cocteau Twins) -- unfortunately, unlike what the lineup on this album would suggest, there doesn't seem to be any elements from '80s goth rock present on this album at all, which would have easily made everything more interesting. What this album does offer to the usual ambient piano style, though, is equally soothing deep ambient electric guitar (clean toned) that overall make Mysterious Skin sound like a far too laid back post-rock album.

This album is different from Harold Budd's previous ambient piano albums for three reasons: it's elementally different because of the soothing guitar playing, stylistically different because Budd's keyboard sounds distinctively "keyboard", and the overall ambient effects attached to and laid under the instrumentation has a much stronger and deeper reverb effect that gives the entire album a very dreamy feel. This extra reverb, though it sounds small, does wonders for this album that would otherwise be too different to albums like The White Arcades.

Compositionally, however, very few of the tracks on this album stand out as individuals at all -- something that Harold Budd has always had a problem with on his albums (and I say this over and over again, I know). "Goodbye to Wendy" follows in the same floating ambient vein as all of the tracks, but has a profound country music atmosphere to it, including echo-y slide guitar, and the whole tracks sounds like something Earth would write if they decided to be more ethereal and laid back. "Loitering" is a fairly boring song that is amplified a bit by a thin electronic beat and repetitive motif, and that's about the only thing that makes it stand out.

So, as a Harold Budd album, Mysterious Skin is somewhat different in a few aspects but is still far too similar to the ambient music he's been creating for over 30 years. As a soundtrack, I'm sure this album works way better. Fans of the the ambient piano style music of the past will most likely enjoy this album, and so will some post-rock fans, but to me it just sounds like a new stamp on an old product.

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 Music for 'Fragments from the Inside' by BUDD, HAROLD album cover Studio Album, 2005
3.95 | 3 ratings

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Music for 'Fragments from the Inside'
Harold Budd Progressive Electronic

Review by colorofmoney91
Prog Reviewer

4 stars Music for "Fragments from the Inside" is a collaboration album of Harold Budd and Eraldo Bernocchi for an exhibit in the Palazzo Delle Papesse Centro Arte Contemporanea in Italy, and in terms of sound I do believe it is a step in the right direction.

This album is probably not what you'd expect as something for an exhibit in an Italian contemporary art center, but it is good nonetheless. Music for "Fragments from the Inside" starts off in a deceptive manner with all of "Fragment One" being the trademark aimless ambient piano method that sincerely bores me to tears almost every time he's done it on previous records. Fortunately, though, it's done quite well as a long introduction before "Fragment Two" blasts off with Berlin school-type groaning and bubbling analog synths before segueing into beat-oriented ambient acid techno with a repetitive yet soothing bass line comparable to the music of Boards of Canada and Biosphere's first two albums -- from this point it is obvious that this is not just another boring ol' Harold Budd album where he treads the same path as always.

From the second track onward, each track is made up of the soothing piano, groaning Berlin school-style synths, occasionally acoustic/ethnic percussion, and various techno- related electronic effects, making this album as a whole somewhat similar to the modern nu-jazz pianist Bugge Wesseltoft's New Conception of Jazz series/group. Harold Budd has proved himself to be a good collaborator before, on albums such as Glyph, and he continues showing his teamwork-oriented skill on this album as well, with flying colors. Still, as to be expected from this artist, Music for "Fragments from the Inside" is a very laid back album and there are no explicit dance numbers to be found, and no rowdy jams, though the energy present is still obvious upon first listen -- this is what I'd like to call "techno for adults".

Something that Harold Budd is usually bad at on his own -- making tracks stand out as individuals -- is thankfully not a problem here. Each track on this album actually sounds like a song and is easily distinguishable from the others. Each track has its own identity while still conforming to an overall, album-wide style that guarantees a coherent end product.

Music for "Fragments from the Inside" is quite different from the majority of Harold Budd's albums, which might be a turnoff to some people. However, I do think he's very good at combining his trademark style with the sounds of more modern electronic music, and anyone who is a fan of Glyph will most likely find some enjoyment in this album as well. Also, if there were a Harold Budd album that I'd recommend to fans of Boards of Canada, Bugge Wesseltoft, and early Biosphere, then this would be it.

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 Avalon Sutra - As Long as I Can Hold My Breath by BUDD, HAROLD album cover Studio Album, 2005
2.42 | 7 ratings

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Avalon Sutra - As Long as I Can Hold My Breath
Harold Budd Progressive Electronic

Review by colorofmoney91
Prog Reviewer

2 stars Avalon Sutra is Harold Budd's second chamber music album, and is very similar in composition to She is a Phantom but has more lush instrumentation and seems a bit more thought out overall.

Avalon Sutra, though being dominated by impressionistic acoustic string instruments and piano, also has an increased aura of ethereal ambience that She is a Phantom did not quite have so much of. The composition style also is slightly more straight forward throughout, with an absence of the weird (albeit interesting) RIO-type compositions that echoed Univers Zero. The tone of this album is similarly downtrodden and moody, comparable to the previous album La Bella Vista except with larger instrumentation and somewhat of an aquatic or earthly vibe.

The album in its entirety is very beautiful in quite an emotionally affecting way, which is something that Harold Budd is usually good at but the varied instrumentation makes everything more compelling and atmospheric than simply an ambient piano-based album. That being said, no individual track really sticks out to me, which is something that he often has a problem with. Not to say that every song on an album such as this one requires catchy hooks or anything, but every song tends to sound nearly the same as the last except with a cello phrase switched out with flute phrase, or a violin phrase switched with a cello phrase, etc. If given utmost attention, then I'm sure every track sticks out in its own way, but it shouldn't need to be this difficult. But, again, this is very beautiful and ethereal chamber music, so Avalon Sutra has that going for it at least.

The big (and only) standout composition however is the entire second disc, which is a track called "As Long as I Can Hold My Breath (By Night)" that is almost 70 minutes long. For its entire duration it explores a single, short, minimalist motif played on strings while other elements come and go from and into the distance, giving off a vibe similar to M. Feldman's Piano and String Quartet except much less morose. Again, the light airy ambience is in full effect that makes this small chamber music type composition sound almost faux-symphonic. Indeed, for 70 minutes this track can become tiring, but it actually being centered on obvious repetition is more interesting and easier to follow than a disc of different compositions that all sound the same based on accident -- it seems more appropriate and less embarrassing this way.

Because Avalon Sutra is two discs, one being boring and the other somewhat interesting, it's hard for me to want to recommend this album to anyone. In comparison, I'd say this album is similar to The Pavilion of Dreams and the aforementioned She is a Phantom, though this is more straight forward, predictable, and entirely void of jazz influence. This could be a great album to aid in relaxation, but mostly it is incapable of garnering any interest during its entire 115-minute duration. Heavenly, yes, but increasingly tedious as the minutes wear on.

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Thanks to Philippe Blache for the artist addition.

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