Hundreds of Days

Hundreds of Days is proof that Lattimore has come into her own as a composer and that her career is taking on the contours of one of her pieces: from stark beginnings something rich and wondrous has emerged.

Lattimore's deftly played, sometimes heavily processed concert grand harp unfurls mellifluously against yearning keyboard ambiences to generate immersive, natural world-inspired soundscapes. [Jul 2018, p.96]

Hundreds of Days finds Lattimore gracefully adapting to her new surroundings, adding new dimensions to her sound but keeping its dreaminess and sentimentality intact.

What makes Hundreds of Days such a engrossing listen lies in the way Mary Lattimore flawlessly combines both mood and mode.

What makes Hundreds of Days so special, though, is how often it hits ambient music’s sweetest spot--a place where the world slows down and the performer’s free-floating noise makes you appreciate everything around it.

The predominantly instrumental Hundred Of Days is a more expansive affair than 2016's At The Dam. [Jun 2018, p.30]

If there is a critique to be made it is that the bass is sometimes a bit muddy, as the production can contain bass notes that clash with the lower notes of Lattimore’s harp. This is not an overwhelming flaw, however, as the mix is on the whole clear and pristine, and as the final piano and harp notes fade out at the end of On The Day You Saw The Dead Whale the lasting effect is one of calm contentment.