Uploaded May 2012 | Updated September 2026, 1 week ago
Paths is the second album from Olan Mill, the duo of Alex Smalley (also of Pausal) and Svitlana Samoylenko, and their first for the Facture label. Their signature sound is something along the lines of Stars of the Lid, particularly the later, more orchestral-leaning sound that duo have explored; but there is also something more ethereal about Olan Mill, something -- and I don't mean this negatively -- thinner. These 6 pieces are almost see-through in places, translucent washes of sound that spread broadly like the upper reaches of the atmosphere. Whereas the first album, Pines, dealt mostly in short piano based songs, Paths has more complex sound palette, utilising treated guitars, pipe organs and strings. The overall form is more ambitious because of this, and despite its short length (32 minutes), Paths feels bigger. 'On Waiting' is probably the standout track here, a thing of hovering, vibrating beauty that peaks with an almost Godspeed-like intensity of strings and low bass rumble; and for such an vaporous album, it's a moment of telluric drama that very much grounds the whole project. I've been very much of the opinion that there's simply too much of this stuff around at the moment, but when it's done this well it's something to celebrate. ...
Paths is the second album from Olan Mill, the duo of Alex Smalley (also of Pausal) and Svitlana Samoylenko, and their first for the Facture label. Their signature sound is something along the lines of Stars of the Lid, particularly the later, more orchestral-leaning sound that duo have explored; but there is also something more ethereal about Olan Mill, something -- and I don't mean this negatively -- thinner. These 6 pieces are almost see-through in places, translucent washes of sound that spread broadly like the upper reaches of the atmosphere. Whereas the first album, Pines, dealt mostly in short piano based songs, Paths has more complex sound palette, utilising treated guitars, pipe organs and strings. The overall form is more ambitious because of this, and despite its short length (32 minutes), Paths feels bigger. 'On Waiting' is probably the standout track here, a thing of hovering, vibrating beauty that peaks with an almost Godspeed-like intensity of strings and low bass rumble; and for such an vaporous album, it's a moment of telluric drama that very much grounds the whole project. I've been very much of the opinion that there's simply too much of this stuff around at the moment, but when it's done this well it's something to celebrate. ...
