Harold Budd’s music exists in that misty place between ambient, new age, and minimalist composition, where everything is gentle and nothing lasts for long. Over 40-plus years, he released about 30 albums. Some are solo, some are collaborative; some are studio and some are live; some are improvised and some are structured. He creates tension between gentleness and threat, between intimacy and uncertainty, between the thrill of a hint and the human desire to see the whole picture and that making his work both seductive and intriguing.
I Know This Much Is True
The original score from the HBO series of the same name, this album is an essential listen for fans of Budd or indeed the TV series and like all good soundtracks it more than stands up on its own. This was Harold’s last release before his passing in late 2020.
Abandoned Cities
Budd does not have many colours, but of those he uses, he is undoubtedly their master. A dark, stark and mysterious masterpiece: achingly lovely emotive melodies of loss and emptiness which reflect the title.
Budd Box
A seven-part collection showcasing seven albums of the musician that are both rare and critically acclaimed. Also contained is a 76-page booklet containing rare interviews and essays about Budd’s work.
Budd Remix
Three interpretations of Budd’s work. His soft pedal style of entwining keys gets a static-soaked drone makeover on Odd Nosdam’s Feral, a twinkly take on Dark Star care of Personable and a hybrid of hollow drums and ethereal organs on patten’s reworking of Mandan.
By The Dawn’s Early Light
The musicians assembled for this recording are first rate; harpist Susan Allen, pedal steel guitarist B.J. Cole, as well as Bill Nelson on acoustic and electric guitar. It features a combination of Harold Budd’s typically ‘ambient’ instrumentals and several short poems, written and read by Budd himself.
Luxa
Recorded in 1989 in Mesa Arizona, Luxa showcases Budd’s mastery of space and silence and unusually for Harold, in sixteen pieces spread over four ‘chapters’. While a few of the pieces are less than a minute long, that detracts nothing from the record’s ambient and atmospheric mood.
The Serpent (In Quicksilver)
Budd’s minimalistic piano style is laid against an emotional electronic backdrop. It is on the title track where his charismatic style shines brightest, crafting a deeply relaxing tone through delicate use of the piano.
The White Arcades
A truly mesmerising piece of work, totally captivating and sensitive, striking a perfect balance between electronics and instruments neither overpowering the other. Budd is after beauty, not menace and this is peak Budd at his stylistically most pure.