She recorded much of At the Dam in the beautiful setting of Joshua Tree. The result is evocative, delicate and haunting music, Lattimore’s harp at times bright and skipping, other times distant and hazy, swathed in gauzy delay. With her harp and laptop, Lattimore drew inspiration from each location, letting the environments in which she recorded color her work. In 2014 Lattimore received a prestigious fellowship from the Pew Center for Arts & Heritage - a rare honor given to 12 people every year - and used the funds to take a road trip across America with a friend, writing and recording songs at each stop along the way. In 2014, she released a collaborative album in with synth player and producer Jeff Zeigler on Thrill Jockey and played with Fursaxa and cellist Helena Espvall, whose “otherworldly concoctions” of loops and layers proved a formative influence. The vibrations are right there up close to your heart, physically.”Ĭollaborations with musicians including Kurt Vile, Meg Baird, and Thurston Moore, helped hone her ear and develop a part-writing style. “You’re sort of hugging it when you play it, so it’s very intimate and personal. “The harp is an instrument that reveals more mystery and potential the more you get to know it,” she explains. Lattimore started learning the harp at age 11. Throughout her collections of improvisations, Mary Lattimore translates memory into music using her 47-string Lyon & Healy harp.
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