Led by cellist Rebecca Foon (of Esmerine, Thee Silver Mt. Zion and Set Fire To Flames), ‘I Thought It Was Us But It Was All Of Us’ is a transfixing debut from the just born Saltland. Jamie Thompson (also of Esmerine) joins Foon in the subtle use of signal processing, and the somewhat less subtle use of percussion. Their debut together is an intricate, ghost-thin spider-web that fuses many different musical genres into one – the only element they share is they all fall under the dark of night. Beautifully arranging the musical strands together with caring fingertips, Saltland effectively link these many stylistic thoughts until they are left as one, dark entity living amongst the corners of thin, silver threads.

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At the centre of the web lies the pulse of percussion and Foon’s ever-emotional cello. Dark scents, left smoked by the last slivers of the sunshine, are apparent at once; when the fireball retreats, it’s playtime. The first couple of seconds feature nothing but percussion, and this, as a vibration sends a trail of alarm to the predator, is important to note. Saltland place rhythmic assertion above the traditional, modern-classical sound, where a drum-beat is close to heresy. Electronic bass-lines are syncopated alongside the drums, and when the husky, light feminine vocals enter, the piece begins to transform into a song; a clear and important difference. As soon as the first syllables are uttered and the vocals are added, the slinky, already frail eyelashes of modern-composition fall by the wayside, and the sound is transformed, powerfully, into something that resembles a corner of dusky folk-pop. Trail-blazing a way through the entire record, the electronic drums propel an otherwise extremely melancholic, heart-tearing cello and the theater that she brings.

Just as original as this is, the percussion also slightly arcs our emotional expectations, running along a new curvature where the otherwise sombre cello can now raise an uplifting hint of a smile and, inside her drama, become inspired for change – a result that is completely unexpected, given the cello’s past background. A lot of effort has gone into percussive prominence, and the subsequent rhythmic drive and flair increases what is already captivating music. The cello is never, ever lost, nor is any one instrument favoured – they all circle each other in a swirling mass of evening dusk. You may not always tend to think of cello and percussion hanging out together, or even as a tight friendship.

They’re from two very different sides of the musical tracks, separated by classical and pop, the studious and the aggressive rebel. Aditya hridaya stotra in hindi pdf free download. It might not seem to work out on paper, but Saltland make them resolve their differences with a ‘we can work it out’ mantra.