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glaswegian quartet laki mera extend and weave beyond the expected confines of genre as their boundary-free sound busts conventions like the musical equivalent of breaking the fourth wall. released late in 2010, the band's debut ep 'clutter' earned breathless comparisons with artists as diverse as the cocteau twins, portishead, blue nile, ryuichi sakamoto and radiohead. such eclectism reflected the band's inherent ability to capture a style immediately recognisable, yet in a realm of its own. the band's freewheeling direction sees them continue to explore new terrain with their debut album. their eclecticism continues as they pursue fragile folk beauty, flourishes of ethereal eeriness with vocalist laura donnelly's tender vocals hanging in the ether like the voice of an imaginary friend and a gloriously atmospheric clash of sinister electronica and enticing pop hooks. the audacious near instrumental 'onion machine' provides a mid-album highlight as it employs a retro-futuristic synth riff, an emotive layer of cello, stabs of grinding guitar and an angular time signature. laki mera record at gobbi and long's own carrier waves studio in glasgow. it allows the band the freedom to spend as much time as they want in order to refine their recordings and to indulge in their sonic experimentations. the album's title was born from an audio engineering term, but it also revealed a second layer of meaning. collectively, laki mera wanted a title that would communicate how people connected on an emotional and psychological level. not only did 'the proximity effect' possess a dual meaning, it also conveyed a parallel with the two key components of their musical approach. or, as gobbi states, 'the technological, electronic element of synthesisers and the organic acoustic feel of pianos, guitars, strings and vocals.'
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