In the last few years I’ve been exposed to a large amount of new music; a lot more than I ever imagined. My initial goal was to introduce myself to at least one artist from each genre and use their music as a gateway into the genre itself. In doing so I found some noticeable anomalies that one can’t categorize within a single genre. Out of all of these anomalies, however, none have been harder to categorize than ANAMAI. Made up of folk artists Anna Mayberry & David Psutka, ANAMAI borders on an odd combination of folk, ambient & electronic music.Their debut record, Sallows, is unlike any album I’ve heard in a long time. Atmospheric, droning, and dark at times, Sallows is one of the more interesting releases of 2015.
Opening track “Lucia” gives the listener a taste of the record right away. It’s very heavy and incredibly haunting at the same time. Anna’s vocals are doubled and come across as slightly drone-like. Her folk-like singing works well across the ethereal guitars and instruments. This feeling remains in the following track, ‘Abris”. The song relies more on guitars than its predecessor and has a slightly more optimistic tone, but the same airiness and minimalism remains. “Everyone” follows. It’s backed with a constant bass drum beat, giving it a slightly more upbeat but still relaxed sound.The folk influence is definitely prevalent in this track.
The following three tracks, “Mute Flames”, “Altar Coals” & “Black Crow”, were previously seen on ANAMAI’s self-titled EP back in 2013, but have been rerecorded and updated since then. “Mute Flames” opens with an almost 8-bit synthesizer that leads into a sound reminiscent to that of the first 3 tracks. The repeated use of the synthesizer quietly in the background is a nice, dark contrast to the lighter upfront sound of the song. I enjoy the stronger presence of Anna’s vocals at times, and this track does a good job of showcasing that. “Altar Coals” was the opening track to their previously released EP but it fits nicely in the middle of the record. The brooding textures of the record are still present but the addition of a tambourine definitely roots the track in folk. The lyricism also stands out more here as Mayberry juxtaposes religious terminology with romance. “Black Crow” starts out in an eerie fashion. The folk presence is carried over from “Altar Coals” but rather than upbeat, the track is heavier and darker; carrying a lot of weight in the percussion and soulful vocal work.
“Half” begins in a similar fashion to “Lucia”. The lush, atmospheric sound and Mayberry’s droned, doubled vocals coalesce in an ominous fashion. The lyricism stands out as much as the previous track, with lines like “people like us, should leave us alone”. “Dirt” follows and instantly sounds more layered than the previous tracks. The minimally-sparse percussion and drone in the guitars work quite well with the rest of the instrumentation. While this album has carried a darkness consistently throughout, perhaps this track might be the darkest. The song is in C minor, which has always been a haunting key in my opinion. Closing track “Otolith” features an 80s synth that almost gives the track the feeling of a horror movie. The vocals are less prevalent and the instrumentation is still minimal but quite layered. It’s slightly odd but ends the record well.
At times Sallows feels like an incredibly complex record. It’s both a strength and weakness as each track is quite strong on its own, but there’s a slight monotony that looms over a few songs. ANAMAI has crafted a quite impressive debut album by creating lush textures and drones that will please fans of several genres, but the lack of instant accessibility might leave some listeners in the dark. Overall, however, Sallows is definitely worth a listen.
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