Cellist Hannah Marshall‘s Tulse Hill (Linear Obsessional) is an exploration of improvisation and rhythm. The pieces are an examination of Marshall’s own rhythmic nature. Mainly using a detuned cello, Marshall limits the range of her songs and instead produces meditative journeys into her own musical space. After the tracks were recorded, Marshall then added minimal field recordings or electronics to add some depth to the sonic result. By its nature Tulse Hill is an introspective and personal work, but as in all good personal art works, it transcends the private to the public with ease.
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