A Closer Listen
The fires in L.A. are out for now, and the attention of the press has drifted away. But many of those affected continue to be in crisis: lost homes, lost income, lost loved ones, the daunting challenges of rebuilding or relocating. In addition, there are residual effects in air quality, plus chemicals that have soaked into the soil and water supply. Responders Hollie and Keith Kenniff continue to raise funds for We Are Moving the Needle and GiveDirectly, which offer frontline support to those in need. This third volume contains 23 tracks and raises the total to 88, with a fourth installment now a possibility as well.
We always admire benefit compilations, which are often compiled, and in this case mastered, in a brief period of time. But there’s a huge difference with this project. As it has continued to grow, the For LA series has also transformed into an overview of the ambient genre, casting a wide net and gathering many glittering fish. Many of these artists seem to be turning in their very best work. Opening piece “Memories” by Async Ross is a gorgeous opener that sparkles like the morning sun on the California coastline; one can even hear waves crashing in the distance, a sign of life returning to normal. Water is often heard in these pieces, the antithesis of fire. Marcus Fischer adds peaceful, meditative chimes. FernLodge portrays “A Winter’s End,” a reminder that the wildfires raged in January, and that spring arrives earlier in this southern city than in other locales.
A mid-set triptych offers glimmers of hope. Taylor Deupree‘s “Wilderness Interface” focuses on the biophany, and features the welcome return of the dawn chorus. Innestri‘s “Fields” is peaceful, tranquil and organic, reflecting life beyond the buildings; and Daigo Hanada‘s piano piece “Seeds” is a reminder of the new growth that often follows a fire.
The collection gradually wanders into more experimental territory. Chiara Dubay‘s whispery “Angels are Everywhere” takes full advantage of the stereo field, while Jessica Roch‘s “Nineteen-oh-nine” shifts abraded piano to one side and sumptuous strings to the other. Penelope Trappes, fresh from the exquisite album A Requiem, returns to the tape fragments and field recordings of her earlier work, adding church bells and a dollop of magnetized voice.
Tom Ashbrook‘s title “Start Again” sums it all up. Those affected by the fires have been plunged into a new phase of life: sorrowful, daunting, terrifying. And yet the very words start again and the encouraging, piano-led music speak to the possibility of a future that may yet glow in new and unexpected ways. The Kenniffs are part of this glow, as are all of the contributors to date, as well as everyone who has invested time and money into this project. The time, art and donations all speak to humanity’s best selves, extending the gift not only to LA, but to all who experience it. (Richard Allen)
Sun May 04 00:01:19 GMT 2025