VOCES8: Infinity
Decca Classics

That the latest album from British choral ensemble VOCES8 is largely meditative and ethereal is easily explained by a simple scan of the composers involved. Rather than the customary classical names one might see listed on the sleeve, Infinity features material by artists such as Sophie Hutchings, Slow Meadow, Ólafur Arnalds, and A Winged Victory for the Sullen, composers whose work is often associated with ambient and neo-classical genres as opposed to classical in the strict sense. Many contributors also bring extensive soundtrack credits to the project, which in itself testifies to the atmospheric character of their contributions. The overall style of Infinity is consistent with that, given its generally soothing character and becalmed tone. If its harmonious music isn't necessarily a cure-all, it definitely provides a comforting respite from pandemic-related anxiety.

For anyone new to VOCES8, the group recently celebrated its fifteen-year anniversary. Many of its founding members were part of the Royal School of Church Music's Millennium Youth Choir and carried on singing together after their tenure with it ended. While changes in membership have occurred, altoist (and Artistic Director) Barnaby Smith, who co-founded it with his brother Paul, is joined on Infinity by sopranos Andrea Haines and Eleonore Cockerham, tenors Blake Morgan and Euan Williamson, basses Christopher Moore and Jonathan Pacey, and altoist Katie Jeffries Harris (Cockerham has since left the group, Molly Noon her replacement).

Six new works appear alongside eight newly arranged covers on the hour-long release, its tone conducive to introspection and reflection. The updates might have originated as instrumental and electronic tracks, but they feel right at home next to the others in fresh choral arrangements. Often complementing the voices are acoustic instruments, all such additions calibrated to strengthen the music's calming effect. Hutchings' haunting “By Night” transports the listener immediately into the album's ethereal realm, especially when the wordless vocalizing's accompanied by harp, viola, and strings. Whereas bowed vibraphones enhance the impact of a glorious vocal performance in Slow Meadow's stirring “Helium Life Jacket,” harp intensifies the celestial beauty of Jon Hopkins' “Scene Suspended.”

On a collection that's consistently strong, certain pieces stand out, among them Kelly Lee Owens and Sebastian Plano's “Find Our Way” and Stephen Barton's “The Universe Within You,” both of them uplifting and hymnal. An a cappella arrangement of Jóhann Jóhannsson's “A Pile of Dust” is particularly moving, not only for the material itself but also for being an emphatic reminder of what we lost when this singular talent passed away. Hildur Guðnadóttir, whose profile has risen in the wake of her award-winning contributions to Chernobyl and Joker, is represented by “Ascent,” originally featured on her 2009 album Without Sinking and arranged by the London Contemporary Orchestra's Robert Ames. Ending the album on a stirring note is Luke Howard's “There is a Solitude,” an a cappella treatment featuring text by Emily Dickinson. While each setting differs from the others, the recording is marked by uniformity of mood and style, with every piece haunting in its own way and the group's voices blending magnificently.

November 2021