[From Excellent Reception : Episode 2]
I don’t think I know of many artists quite like Low Leaf. At first glance, she is a just a female that is holding her own in LA’s male dominated underground beatmaking scene. Then you realize that she’s also a vocalist, a classically trained pianist, and is masterful at playing the harp. Overall, she is an exceptionally talented artist that brings so much of her own special flavor to the table.
If you get to see her in a live setting, than you’re in for a treat. She pulls out every tool in her musical arsenal to express herself through sound. I’ve seen her singing, rapping, and chanting all while playing the harp with her left hand and playing the keyboard with her right.
Some have labeled Low Leaf’s sound as folktronica, which kind of makes sense since her sound incorporates her spirituality, her respect for nature, and elements of her Filipino heritage. But it’s so much more than that. Each project she has put out has represented a new step in her evolution as an artist. On early albums like “Chrysalis”, she’s heavy on the experimental electronic beats with a little bit of Dorothy Ashby style harp textures mixed in. While on her “Alchemizing Dawn” album, she focuses more on acoustic instrumentation and songwriting with a few electronic atmospheric touches in the background.
The culmination of her evolution can be heard on her latest album, “Akashaalay” (which was put out by Portland indie label Fresh Selects). On this album, she shows off everything thing she has learned along the way. The songwriting is top notch and the sound is more polished than anything she has done before. My favorite tune, “As One”, appears midway through the album. It has this slick bossa nova feel to it and chords so beautiful I wish I could kiss them.
This is an excerpt from the Excellent Reception podcast. Each episode our host, lil’dave, talks about the stories and influences around a group of carefully selected songs. Subscribe to the podcast now via iTunes.