Those who know me personally know that I am easily distracted, a quality that makes for entertaining-if-somewhat-nonsensical conversation but oftentimes put me at a disadvantage as a journalist. That said, I’m very pleased to present this extremely nonlinear interview with Elori Saxl about her recent record, “The Blue of Distance,” an album that splits the difference between ambient and neoclassical.

“The Blue of Distance” was constructed during two distinct periods — half during a summer artist’s retreat in the Adirondacks, and the other part, on a frozen lake in Wisconsin. It’s an LP that’s full of interesting dynamics — instrumentally, there’s interplay between chamber orchestra and digitally manipulated field recordings of water and wind, which congeal into a final effort that’s a pleasant, engaging groove — moreover, it’s perfect listening for contemporary weather in New York, which seems to modulate between winter and summer depending on the day.

While I wanted to explore the “headspace” of “Blue’s” creation, the conversation between Saxl and myself drifted almost immediately to what constitutes a banger, how Saxl sees her own music as an extension of the “palpable groove” she enjoys in disco and house, and the closure that only truly comes with the passing of time.

Tracks featured on this episode:

Blue — Elori Saxl

Wave III — Elori Saxl

The Blue of Distance — Elori Saxl

Wave I — Elori Saxl

Follow Elori Saxl:

http://elorisaxl.com

https://www.instagram.com/elorisaxl/

http://elorisaxl.bandcamp.com

Theme music by Ambient Mice:

https://soundcloud.com/ambientmice/

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