Review Summary: Boundless, formless, timeless.
Toby Driver is a name synonymous with experimental and abstract music in the underground scene. Since forming
maudlin of the Well in 1996, he has built a discography that is nearly unrivalled, with an influence on countless industry contemporaries. 2001's
Bath, widely considered their magnum opus, broke new creative barriers upon its release and gained a large cult following in the decades to follow. After that band’s dissolution in 2002, Driver switched gears into a new band called
Kayo Dot, and remains the only constant member to present day. With arguably his greatest professional achievement coming in 2003’s
Choirs of the Eye - a dazzling monolith comprising everything from woodwind instruments and delicate strings to crushing riffs and shrieking vocals - Driver has since amassed an astonishing back catalogue of releases through various projects and across multiple genres.
Alora Crucible is the latest addition to his repertoire – a trio composed of Driver, Timba Harris and Ana Cristina Pérez Ochoa that works in long, flowing movements rather than in shorter tracks. 2021’s debut release of
Thymiamatascension (say that one three times fast) was proof enough that the group more than lives up to the parent bands from which it was born. Relying heavily on the presence of ambient guitar melodies and interwoven synth patterns, the album set the stage for a magnificent follow-up in a similar vein.
Oak Lace Apparition not only rests alongside the glass ceiling of lofty expectations – it spectacularly smashes through towards the other side.
Seemingly taking more stylistic influence from ambient legend
Tim Hecker, this album is nothing short of gargantuan in scope. Layers upon layers of instruments dance across soundscapes like paintbrushes across a blank canvas. The level of intimate detail on each track is staggering, and one listen is proof of the three years’ worth of work that bridged these releases. Driver has always been a master at emotional crescendos that bring release like no other (the clarinet solo in Kayo Dot’s
The Manifold Curiosity being perhaps his single grandest moment as a composer) and there are plenty of standout passages to be found here.
Over the years, I’ve taken personal influence from his ability to craft complete pieces out of seemingly disjointed fragments, while bringing the ending home in a way that doesn’t feel artificially inserted.
Aestiform is an album standout; it’s a maelstrom of twisting strings, synths and soul that captivates throughout a lengthy 14-minute runtime, the final minutes bringing tear-jerking beauty into full frame. Like its predecessor, there are only select tracks featuring vocals –
Cenote Vacio with spoken-word poetry,
Spindle’s Whorl with gorgeous lead/backing vocals that perfectly complement the instrumentals, and the eerie chants through the entirety of closer
I Destination. This allows for a perfect blend of passages that provide variety throughout, the return of vocals being a welcome surprise rather than a predictable formula.
Oak Lace Apparition is the culmination of nearly three decades worth of innovation. Due praise should be given to both Timba Harris and Ana Cristina Pérez Ochoa – although Driver might be the creative engine behind the wheel, their influence on this album cannot be understated and cements the project as a unique entity. The sheer depth of this release will take multiple full listens to properly absorb and (not unlike some of Driver’s other works) may not immediately click off the hop, but rest assured – the payoff is truly incredible.
