The Paradox of Motion and Stillness in Music

Consider the strange physics of being a passenger: You’re at once in motion and at rest, paradoxically traveling without moving. Scenery hurries by your window. Sometimes your eyes unfocus, scanning a flattened blur of color; other times they might zero in on a road sign or a single leaf, following it out of frame. When you arrive, it’s as if time and space are just behind your shoulder, catching up. That’s the feeling of listening to That Wasn’t a Dream, the spacious and surreal new album from Pino Palladino and Blake Mills. Each song achieves stillness through constant movement and resolution through continuous tension. Isolated melodies occasionally blend into a harmonic cloud before separating once again, drifting nebulously yet highly organized.

Exploring the Sonic Landscape

A Continuation of Artistic Exploration

Following their 2021 release, Notes With Attachments, Palladino and Mills delve into similar sonic influences, albeit with a more introspective approach. The earlier album embodied the brisk energy of a bustling city sidewalk, while the latest offering evokes the hazy liminality of a long train ride. Palladino, a seasoned Welsh sideman known for his collaborations with artists like D’Angelo and De La Soul, intertwines his basslines with syncopated percussion and smooth, flowing tones. Meanwhile, Mills, a renowned producer whose portfolio includes work with Beck and Fiona Apple, skillfully integrates staccato guitar plucks that fill the rhythmic voids.

Creating Space Through Minimalism

On That Wasn’t a Dream, the duo begins with intricately woven arrangements but intentionally disassembles them, allowing ample space between each note. Palladino stated, “If we could make something work with the least possible ingredients, space could become the centerpiece.” The result is a sparse yet enchanting collection of tracks where time flows in a circuitous manner, and musical phrases gently brush against one another like branches swaying in a breeze.

Contrasting Grooves and Rhythmic Restraint

From Complexity to Simplicity

While the grooves on Notes With Attachments were characterized by sharp, complex patterns, Palladino and Mills embrace a more restrained approach in their latest work. This newfound patience allows for the development of a rhythmic pocket from a minimal selection of notes. A prime example is the track “What Is Wrong With You,” which establishes its trippy feel in the first 10 seconds through a simple interplay of quarter-note hi-hats and a swinging kick drum. Palladino’s four-note bassline creates an expansive space between the downbeat and the measure’s end, while Mills’ baritone guitar melody weaves in and out, merging the composition like a painter’s strokes on a canvas.

Innovative Soundscapes and Unexpected Pauses

Midway through “Taka,” a vibrant blend of electro-funk, listeners experience a striking moment of silence as both the synth and bass drop out, leaving a drum-machine sequence accompanied by percussive sounds reminiscent of clinking wine glasses. This deliberate choice allows the listener to appreciate the intricate layers of sound and the enchanting stillness that accompanies them.

Conclusion

In That Wasn’t a Dream, Pino Palladino and Blake Mills invite listeners to explore the paradox of motion and stillness through their innovative musical approach. By balancing complexity with restraint, they create a sonic landscape that feels both expansive and intimate, allowing each note to breathe and resonate within the listener’s mind. This album serves not only as a continuation of their artistic journey but also as a testament to the power of space in music, leaving audiences eager for what comes next.

FAQs

What is the main theme of the album “That Wasn’t a Dream”?

The album explores the paradox of motion and stillness, using minimalistic compositions to create a spacious listening experience.

How does “That Wasn’t a Dream” differ from “Notes With Attachments”?

While both albums feature intricate arrangements, “That Wasn’t a Dream” focuses on restraint and the use of space, contrasting with the busier, more complex grooves of “Notes With Attachments.”

Who are the primary artists behind the album?

The album is a collaboration between Pino Palladino, a renowned bassist, and Blake Mills, a sought-after producer and guitarist.

What musical styles are represented in the album?

The album incorporates elements of jazz, electro-funk, and experimental sounds, blending various influences to create a unique auditory experience.