Somewhere between Low, the new ‘tronics of Scott Matthews and the reverb-soaked slow tones of Burial, there’s a neat place where ‘Overture‘ settles. Voices are hushed down and clouded, stacked up soft layer by soft layer. There’s a constant cracked feedback that adds rasp to the breath and each sound is pressed down and compressed. It’s a glance at a song, someone’s loose dream of structure, with hushed neons that push through the mist.  

But these muted sounds only evoke. We get asked to fill gaps in between. Sparse and clipped beats keep what’s close to a pulse, and the wash drags enough of a pull and a tide to make sure you’re left floating easy. There’s a lush and a lonely, a cool honed slow lull, like The XX let loose on Bon Ivor. Ok those references might date the review, but in this Bermuda Triangle of feeling and noise, why not throw the past in the mix?

What we’re left with is something that snags. Because ‘catches’ is too fast a word. ‘Overture‘ is a single that drifts with direction, that works its way in, through and out. With a sleek sinking feel that’s viscous and rich like a lost scene from Under the Skin, it seeps in like some sonic osmosis.

Take a listen and see. Find the acoustic version too. The flick between textures only adds to the charm as The Auxiliary spins its sounds outward.