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Artist: Uele Lamore
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Uele Lamore:

The Apology (Original Motion Picture Soundtrack)

Twenty years after the disappearance of her daughter, recovering alcoholic Darlene Hagan (Anna Gunn) is preparing to host her family's Christmas celebration again with the help of her friend and neighbor, Gretchen (Janeane Garofalo). Late Christmas Eve, Darlene's estranged ex-brother-in-law, Jack (Linus Roache) arrives unannounced, bearing nostalgic gifts and a heavy secret. Soon, Darlene finds herself caught between reason and ruthless instinct. Trapped together by a dangerous storm, a battle of wits escalates to a violent game of revenge.

At the young age of 27, French conductor, composer, guitarist and arranger Uele Lamore has an impressive number of tricks up her sleeve. Not only is she making history as one of the youngest female music conductors in France, her repertoire is immense, interdisciplinary and crosses vast stylistic and musical landscapes. As an arranger and orchestrator, Uèle Lamore has collaborated with a diverse range of artists, including Alfa Mist, Max Cooper, Etienne Daho, and Moor Mother.    Genre: Thriller / Horror

Uele Lamore:

LOOM

Uèle Lamore has always explored music’s infinite possibilities. Been enraptured by the joy it can bring. Both elements have fueled the 27-year-old Franco-American artist’s curiosity and creativity as she’s deftly weaved a love of jazz, rock, indie, hip hop, trip hop, and classical music with conducting the London Contemporary Orchestra (LCO), experimenting with AI-generated sounds, and exploring modular, electronic, and synthetic elements. 

Fitting then that her debut solo album is titled LOOM. “I wanted to showcase different ways of approaching sounds and musical genres”, she says of the record’s genesis. “And that comes from a place of just loving music.”

LOOM was originally conceived back in 2019 as a series of rough, brooding sketches that leaned heavily on ambient electronica. But after Covid-19 shut down much of society, Lamore went back to her original recordings and decided to rework them. With one eye on the eventual return of concerts, “fun” was a watchword. So too “accessible”. “I really wanted a record that would be great to play live, as a band, and that could really connect with as many people as possible,” she says of the changes. “And I needed to do something organic.”