“Songwriter-singer-multi-instrumentalist-improviser-engineer Samara Lubelski is not what anyone could call ‘pigeonholed’ in the climate of contemporary music.”

In 2007 longtime fan Thurston Moore recruited Samara and her violin skills for his ‘Trees Outside the Academy’ album and tour. Familiar with the solo work, Thurston wanted to hear a new type of record from her: more confident, bolder. He offered an Ecstatic Peace! release if he was allowed to produce. Samara poached drummer Steve Shelley for her band, adding the missing backbeat to a swarm of overdubs. Thurston produced the mix sessions; lying sick on the couch calling out for more and more elements to be louder until a wonderfully aerodynamic version of the songs flew forth. The result is FUTURE SLIP.

FUTURE SLIP is an enigmatic record with hushed vocals rising just above simple drum, keyboard and guitar backdrops. The pace is always leisurely, the ‘under-the bed-covers’ ambience reminds of little girls whispering to each other behind hands in a quiet corner. ‘Culture King ‘66′ opens the collection in a folk-pop style that is sustained throughout the album. There’s a tangible melody and a voice that’s so muffled lyrics are difficult to hear. ‘Empire’s Dream’ offers brighter sounding instruments and a clearer vocal as the song travels at faster pace driven by a stronger melody. At this point I have to say that I’m having difficulty in establishing what this artist and music are about… ‘Evolution Flow’ has a pleasant guitar strum and polite drum rhythm opening, but as soon as Lubelski starts to sing I’m lost - each song so far has sounded pretty much the same and I wonder if it really matters. As I hope for something more tangible ‘Future Hold’ opens and I’m still none-the-wiser. ‘Headships Down’ sounds as if someone has realised that the volumes were set too low because it’s a lot louder and sharper giving a better idea of what the lady’s voice is really like. In reality it reveals little more.

I’ve listened to this album several times to try and discern something I can hang my hat on, but it’s a fruitless exercise, although final track ‘Field The Mine’ offers a more solid musical experience. There’s nothing wrong with self-indulgence in music, in fact I wish there was more of it. But to me it just doesn’t work here at any level, and I’m as musically adventurous as the next man. I’m pretty sure that there are some interesting messages and stories here, problem is they’re dressed in the wrong clothes… You may think differently.