Ghostly International presents ‘Hundreds of Days Remixes’, Mary Lattimore’s 2018 album reimagined by her peers, set for release on January 25th.

Plucks of harp dissolve, pulsate, and elongate across atmospheric and rhythmic reworks by Julianna Barwick, Steve Moore, Paul Corley, Alex Somers, Icelandic musicians Jónsi, Kjartan Holm, Sin Fang, and Philadelphia friends King Britt and Inlets (Jeff Zeigler and Sarah Schimineck).

The collection caps a banner year for Lattimore which saw the Los Angeles-based artist touring the world in support of two albums (‘Hundreds of Days’ and ‘Ghost Forests’, her collaborative project with Meg Baird), reaching #4 on the Billboard New Age charts, and receiving widespread critical acclaim.

The New Yorker has observed that Lattimore’s albums “tend toward a spooky formlessness; listening to them feels like falling into a long trance.” These remixers shape different forms from ‘Hundreds of Days’, inflecting their own style into her world, inviting listeners to engage the intricacies of this evocative work in an array of new ways.

Album opener “It Feels Like Floating” glistens brighter and suspends further in the 23-minute edit from Jónsi. The Sigur Rós singer’s unmistakable voice appears briefly, enraptured by the circuitous current of the quiet organ hymn. Julianna Barwick elevates “Never Saw Him Again” to a mesmeric, sun-kissed stomp. Lattimore’s signature drone and halcyon flutter obscure and throb under the new tempo, evoking the optimistic glow of a golden hour in California, where both artists reside. Steve Moore sets “Baltic Birch” in fog. The original was inspired by Lattimore’s trip to Latvia where she was struck by the abandoned resort towns. Moore, known for his film scores and work as one half of horror-prog duo Zombi, sees the scene through a lens clouded and darkened with the dust. Paul Corley isolates and stirs it to a flurry. King Britt reconstructs “Wind Carries Seed” with handclaps and hushes. Kjartan Holm drafts a slow-motion postcard from “Hello From the Edge of the Earth.” Sin Fang propels “Their Faces Streaked With Light and Filled With Pity” into a field of kinetic energy. Alex Somers remembers “On The Day You Saw The Dead Whale” with a fireworks finale. Inlets bounce “Be My Four Eyes” toward beatific heavens.

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