Holy Hum | All My Bodies

Andrew Lee (aka Holy Hum)’s, latest album, All My Bodies, creates a canvas of sound that palpably moves the listener through layers of memory and emotion. It rises and crashes with moments of cataclysm that are transformative and consistently inconsistent.

“The first sounds that I made when I started recording I used. I wasn’t writing. I was experimenting and improvising while I was hitting record,” said Lee. “I don’t even know how to play songs because they were captured in the moment. So, when I preform songs they are often very different.”

Lee is both a musician and a visual artist, and says that different mediums engage his brain in different ways, but they are not dissimilar. “Music is like paint,” he said. “You can kind of lean into it. Sound is like a material that can be manipulated and moved around.”

The next step for Lee is moving to New York. “I’m going there to launch my music career full-time,” he said. Lee is ‘living the dream,’ but only after a lot of thought and planning. “There is something about the idea of the struggling artist that doesn’t compute for me, said Lee. Having a job has helped me.”

Lee has been with Denbigh for five and a half years. He is a technician and fleet manager and maintains the Denbigh vehicles. “Working at Denbigh gave me an income to not have to do things artistically for money. It really freed me up creatively,” he said. “There are so many distractions – things you have to deal with and things that influence your art. Some might say that having to do things for money will compromise your art. One of the best things you can do if you want to be an artist is to have a well-paying job. It frees you up creatively.”

All My Bodies has been extensively and glowingly reviewed. Listen here.

 

Praise for All My Bodies
All of My Bodies is a drifting confluence of field recordings, musical improv, classical instrumentation, post-rock grandeur, and inspirations drawn from poetry, literature, the sci-fi synth sounds of the original Blade Runner, and sublime scores like that of 2001: A Space Odyssey’s.” – Vancouver Weekly

“Where many such records can sink under the weight of their conceit, Lee has managed to sequence the album to flow from the intense, lengthy pain of the opening title track to stark Canadiana (Flower in the Snow), to quite abstract soundscapes such as Sun Breaking or Yoo Duk Lee.” – The Vancouver Sun

“It’s a powerful listen… It’s heavy, expansive, and glimmering with Lee’s memories.” – KEXP Seattle
“It is, quite simply, one of the best records of the year.” –Discorder Magazine

8 out of 10 “Heavy Lark” features Bon Iver-esque vocals and a surprising Spanish guitar solo, while the 12-minute “White Buzz” climaxes with a jagged, chaotic guitar freakout followed by a wordless, howling vocal solo (yes, an actual vocal solo).” – Exclaim Magazine

4 STARS” “as a whole it’s a masterfully crafted composition, but any track can be taken individually and appreciated in its own completeness.” – Ride The Tempo

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