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Retrieved 17 January 2013. • Pelly, Jenn (13 June 2012).. Retrieved 17 January 2013. Retrieved 18 July 2017. • Kellman, Andy.. Retrieved 16 January 2013.

Retrieved 17 January 2013. • ^ Parker, Hames (May 2012).. Retrieved 17 January 2017. January 2013. • • Quarantine (LP liner notes)..

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Seconds later, stripped of all effects and affects, Halo menacingly deadpans to the object of her desire, 'you are my target.' There are plenty of disarmingly pretty moments too on Quarantine, yet even those strive for unsettling effect, finding beauty in uncertainty, confidence in the embrace of the unknown. There are already subtle hints at discord during the spacey lullaby of 'Thaw', milky synths and samples beaming in and out of an odd time signature as Halo sings in a strangely conversational timbre, 'Don't get addicted to anything/ Just keep on walking/ One foot in front of the other/ Forward motion's the only answer.' The closing is Quarantine's most conventionally performed keys-and-voice piece and also the most gorgeous, though a rare glimpse at Halo's more lush, jazzy phrasing is dedicated to the admission that 'words are just words that you soon forget.'

Easily one of the queasiest albums in recent memory, Halo's attempt to unify her sound and provide an entry work into her past works courtesy Easily one of the queasiest albums in recent memory, Halo's attempt to unify her sound and provide an entry work into her past works courtesy of Hyperdub, coming off a sterling year this can be equal parts off-putting and utterly enthralling. The main element here is Halo's voice, which she wields like The Knife and manipulates to no end; a child-like coo here, abrasive atonalities there, a warm wash when the moment calls for it. For an electronic album, there is little in the way of a beat, and the grappling with ideas can be frustrating, but hard work will win the day, and this album's secrets will be solved one day. There isn't anything out there that sounds like Quarantine, not even Laurel Halo's previous work. Unlike other human/machine hybrids the sound There isn't anything out there that sounds like Quarantine, not even Laurel Halo's previous work. Unlike other human/machine hybrids the sound produced here isn't some cyborg with fully integrated elements smoothly conjoined, but a frisson between Laurel Halo's fallible almost awkward vocals and the Sci-fi sounds her battery of audio equipment produces.

• Gardner, Noel (25 May 2012).. Retrieved 17 January 2013. • ^ Cohen, Ian (7 June 2012).. Retrieved 17 January 2013. • Gibb, Rory (23 May 2012).. Retrieved 17 January 2013. • ^ Miller, Derek (21 June 2012)..

Contents • • • • • Background [ ] Halo recorded Quarantine between July 2011 and February 2012 primarily in her home studio, with some instrument tracks also recorded in London. She made over thirty demos, eighteen of which were deleted. In November 2011, Halo sent the LP demos to label head, who responded with positive interest. Initially applying extensive and to her vocals, which she found 'supremely boring,' Halo instead opted to leave them dry and unadorned, stating that 'it was tempting to use but I decided against it because there’s this brutal, sensual ugliness in the vocals uncorrected, and painfully human vocals made sense.'

• Daly, Aidan. The Line of Best Fit. Retrieved 30 June 2017. • ^ Shaw, Steve (4 June 2012)..

Critical reception [ ] Professional ratings Aggregate scores Source Rating 80/100 Review scores Source Rating (8/10) (6/10) (8/10) (favourable) (4/5) Quarantine received positive critical reviews from critics, with an aggregate score of 80 out of 100 on. Named Quarantine as the 'release of the year' in its annual critics' poll. Ian Cohen of called the album 'something definitive' and Halo's 'best and most cohesive work to date.' Called it 'one of this year's most intriguing and divisive listens,' and noted that 'what's blasted her music headlong into the future is its re-integration of those most ancient of musical devices - the unadorned human voice, verse/chorus structures – into environments they’re usually so thoroughly unfamiliar with.' Wrote that 'it manages to sidestep pretension at almost every turn, partly due to the near-naive vocals that dominate the warm crackle and glow.'

I wanted to add my two cents as the reviews of this album have caused quite a stir. The main point of contention seems to be her voice and the intentional 'pitching' of the voice over the songs.

Like an errant, synaptic trigger. Is it a love song or a neurological study of the feeling? Likewise, it certainly has to be intentional that the titles signifying expressions of rapture ('Wow', 'Joy') are given to compositions in thrall to the dehumanization of Halo's voice. The most pointed example of Halo's painstaking production appears on 'Tumor': The illuminant vocal processing accompanying the lyrics, 'Caught behind the wall of tears/ Distorted liquid image of you/ The signal keeps cutting out but one thing is clear/ Nothing grows in my heart, there is no one here,' evokes a radiant sadness.

Tumor pits repetitive and eerie mechanical sound against the unusual shape of Laurel Halo’s vocal melody, her harmonies adding to a sense of unease. On Airsick, she makes a virtue of what are largely clipped and monosyllabic lyrics, creating a strong feeling from the most minimal of ingredients.

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It's this awkwardness which makes the album so good but difficult too, which may mean it'll alienate as many people as it entrances, which would be a shame 'cos there is a lot to enjoy here. Take a chance and get infected.

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Some will find it either uneasy, or perhaps irritating, but these kind of unconventional musical presences appear only rarely and often prove divisive. Some will be tempted to define Quarantine as ambient music – but that feels misleading. Whilst it may be dream-like at times, the overall effect is surreal but not sleepy. There’s an alertness and sense of movement within these carefully crafted soundscapes.

The closing Light And Space does indeed offer what it says on the tin, a pleasingly airy conclusion to a sometimes challenging and unsettling album. Perhaps a more helpful comparison is with the hyper composed sound world of Dirty Projectors. Although Laurel Halo’s melodies often have the feel of being improvised or dispatched casually, but they may have in fact been very meticulously arranged. On the short interlude Wow, the harmonies have a similar playful starkness and attack. If the music on Quarantine deals in construction and design, then the vocals explore the possibilities of consonance and dissonance to powerful effect. Some will find it either uneasy, or perhaps irritating, but these kind of unconventional musical presences appear only rarely and often prove divisive. Some will be tempted to define Quarantine as ambient music – but that feels misleading.

• Pelly, Jenn (13 June 2012).. Retrieved 17 January 2013.

Retrieved 17 January 2013. • Pelly, Jenn (13 June 2012).. Retrieved 17 January 2013. Retrieved 18 July 2017. • Kellman, Andy..

Product Details Availability eBay.co.uk Laurel Halo-Quarantine CD NEW Condition: New Time left: 5d 6h 14m 27s Ships to: Worldwide £11.31 eBay.co.uk LAUREL HALO - QUARANTINE (DIGIPAK) NEW CD Condition: New Time left: 8d 6h 42m 45s Ships to: Worldwide $36.99 eBay.co.uk Laurel Halo: Quarantine CD (2012) ***NEW*** Condition: New Time left: 8d 18h 14m 17s Ships to: Worldwide £11.30 My favourite store: Quarantine is ranked as the best album. Laurel Halo album bestography « Higher ranked This album (4,663rd) Lower ranked (8,972nd) » - Quarantine.

• Cliff, Aimee.. Retrieved 17 July 2017. • ^ Foxx, Trilby.. Retrieved 18 July 2017. • ^ Nicholson, Rebecca (31 May 2012).. Retrieved 17 January 2013.

Contents • • • • • Background [ ] Halo recorded Quarantine between July 2011 and February 2012 primarily in her home studio, with some instrument tracks also recorded in London. She made over thirty demos, eighteen of which were deleted. In November 2011, Halo sent the LP demos to label head, who responded with positive interest. Initially applying extensive and to her vocals, which she found 'supremely boring,' Halo instead opted to leave them dry and unadorned, stating that 'it was tempting to use but I decided against it because there’s this brutal, sensual ugliness in the vocals uncorrected, and painfully human vocals made sense.' Speaking to, she described the album's thematic focus as 'contrails, trauma, volatile chemicals, viruses.'

One of the more fascinating electronic music producers to emerge in the 2010s, follows two EPs for Hippos in Tanks with an album for Hyperdub. Lest there be any doubt as to whether there is a fit, the album's title is and its first track is titled 'Airsick' -- no one would be surprised if labelhead issued productions of his own with those exact titles.

Called it 'one of this year's most intriguing and divisive listens,' and noted that 'what's blasted her music headlong into the future is its re-integration of those most ancient of musical devices - the unadorned human voice, verse/chorus structures – into environments they’re usually so thoroughly unfamiliar with.' Wrote that 'it manages to sidestep pretension at almost every turn, partly due to the near-naive vocals that dominate the warm crackle and glow.'

If the music on Quarantine deals in construction and design, then the vocals explore the possibilities of consonance and dissonance to powerful effect. Some will find it either uneasy, or perhaps irritating, but these kind of unconventional musical presences appear only rarely and often prove divisive. Some will be tempted to define Quarantine as ambient music – but that feels misleading. Whilst it may be dream-like at times, the overall effect is surreal but not sleepy. There’s an alertness and sense of movement within these carefully crafted soundscapes.

Based on these premises, the Wwise Audio Lab project was born: a pseudo game environment focused on exposing various spatial audio phenomena that would run on Windows and Mac, but also in VR on Oculus and HTC Vive. Follow this link to generate a 90 day trial license key for our RS3D Wwise plugin. Audiokinetic's Wwise has helped usher in the dawning of a new era for game audio. The ability to create and audition complex systems and establish a set of emerging standards within the community at-large has led to an incredible leap in Technical Sound Design quality in today's games. Audiokinetic sets new standards in audio production for interactive media and games. The company’s middleware solutions, including the award-winning Wwise® and SoundSeed®, empower sound designers and audio programmers with a cost effective, comprehensive authoring tool and audio engine for creating innovative interactive experiences. Wwise audio. Wwise (Wave Works Interactive Sound Engine), is Audiokinetic's software solution for interactive media and video games, available for free to non-commercial users and under license for commercial video game developers. It features an audio authoring tool and a cross-platform sound engine. Sony Interactive Entertainment announced the acquisition of the company on January 8, 2019.

Some will find it, to put it lightly, hard to deal with, and by most standard metrics of evaluation, it's not proper singing and borders on ugly. But consider the combative content of the lyrics: 'I will never see you again/ You're mad 'cause I will not leave you alone.' There's purpose to all of this, reminding me of Jeff Mangum's approach on the opening devotional from 'King of Carrot Flowers, Pt. 2 & 3', where the volume signifies an artist pushing against internal and external repression with necessary, confrontational force. Halo's vocals only occasionally go back into attack mode, but 'Years' is indicative of Quarantine's prodding and provoking nature and how it subverts the typical ideas of how we brand aggressive and intense music.

Club rhythms are consciously avoided, and the overall sensation is weightless – sometimes unnerving, sometimes detached, but most often shot through with a curious warmth and a sense of innocence. There are times when Laurel Halo bears a peculiar passing vocal resemblance to Canadian singer-songwriter Kathryn Calder but the musical settings here are so far away from Calder’s infectious sugar rush melodies.

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'Holoday' 1:50 9. 'Tumor' 2:40 10. 'Morcom' 3:03 11. 'Nerve' 2:31 12. 'Light + Space' 4:49 Total length: 41:19 Personnel [ ] Credits adapted from the liner notes of Quarantine. • Daly, Aidan. The Line of Best Fit.

Retrieved 17 January 2013. • ^ Miller, Derek (21 June 2012).. Retrieved 17 January 2013. • ^ Parker, Hames (May 2012).. Retrieved 17 January 2017. January 2013. • • Quarantine (LP liner notes)..

Most perturbing/entrancing is 'Carcass,' where thick sequencer burbling (reminiscent of early ) and lightly searing noise dip in and out as 's heavily treated, inhuman voice creaks and trembles. The sparse, stupefying ballad 'Light + Space' is the 'Ghosts' () of its time -- and an unexpectedly moving finale. As oddly gruesome as its artwork, is the addictive soundtrack to some kind of science fiction nightmare.

It’s almost as if the very soul and purpose of this music is the creation of a harsh conflict between the voice and its surroundings. On Carcass, her heavily treated voice puncures a serene bubble of sound and hypnotic rhythm.

'Years' 2:52 3. 'Thaw' 5:59 4. 'Joy' 3:27 5. 'MK Ultra' 4:17 6. 'Wow' 1:23 7.

Take a chance and get infected.

This sprawling but of-a-piece release, ideal at 40 minutes in length, is significantly less beat-driven than and. Just as significant, none of 's singing is as conventionally melodic as her contribution to ' (aka ) 'Strawberry Skies.' She uses considerably less echo, yet a type of effect is usually in effect -- whether through layering or drastic manipulation. She occasionally thrusts her voice to the fore, as she does over synthetic-streak FX and probing drones on 'Years'; the manner in which she sings 'You're mad because I will not leave you alone' is unsettling to the point of being confrontational. The affected quivering quality that she often uses recalls the 'fourth world' sound of trumpet player, especially when it dovetails with her queasy synthesizer textures. Most perturbing/entrancing is 'Carcass,' where thick sequencer burbling (reminiscent of early ) and lightly searing noise dip in and out as 's heavily treated, inhuman voice creaks and trembles.