After a number of years off, under-the-radar bliss-masters Landing return with a couple of songs reaffirming their easy mastery of hushed tones and soft drones. “Into the Hall” reprises the muffled, jaunty marching drums from the “Gravitational” days, as Aaron Snow’s whisper coats the gauzy bed of sound like a fuzzy comforter. And his voice really does comfort, half audible and telling of an escape from confusion. Great touch and timing with delay produces another signature Landing guitar lead that seems to bob and pulse in a relaxing groove. It’s a modest little number which successfully approximates drifting off to sleep amid worry and finding a safe release in the narcotic arms of sleep.
Flipside “Following Daylight” finds Landing turning in their most ambient work on record in a long time. It proceeds in a relatively low flying trajectory for the band, emerging from some moaning low end feedback and scraping sounds that remind me of someone snoring. Clusters of short-delayed notes trickle in, before the track blooms slowly with a warm drone that ascends to a graceful finale. Over the course of the song I can’t help but trace in my mind a sleeper slowly bathed in increasing light as the sun rises, lifting him slowly from his slumber as his body senses the new daylight beckoning him from his window. Again, a modest but extremely effective track which, when considered with the other side of the record, represents a nice little audio journey from wakefulness to sleep and back again.