Ever since 1990, Lida Husik has been consistently cranking out inventive and enjoyable music. In fact it’s hard to think of even a handful of musicians who have been as steadily original over seven albums as she has been. With a voice a lot like a more self-assured Liz Phair, Husik’s work has been a combination of straight-ahead melodic guitar driven indie-rock and mellifluous ambient music.
On records like “Fly Stereophonic,” “Bozo,” and “The Return of Red Emma” Husik’s cuts her sexy strong vocals with odd lyrics telling bizarre stories. She alternates these records with the sparser, more ethereal with which she collaborates with Beaumont Hannant. On albums like “Green Blue Fire” and “Evening at the Grange” and “Faith In Space” Husik plays guitar, bass and keyboard, while Hannant mixes in drums and various samples to create a seamless spread of ethereal bliss.
“Faith In Space” is a richly textural album mixing a breathy often baby-doll vocal style with the clean thick waves of near perfect instrumentation. This is as subtle a record as the ambient trip-hip leaders such as Hooverphonic, Portishead, and Esthero. The beats may be a little quieter and the vocal riffs are understated, but as a complete composition, Husik fills the sky with a strangely upbeat ten-song collection including a beautiful cover of Paul Weller’s “Monday.”
After a decades worth of records and a tour among some of the best indie labels in the business (Shimmy Disc, Astralwerks, Caroline, Alias) Husik will likely remain an artist’s artist, making music out of a profound love of doing so. “Faith In Space” is a brilliant mood record for those quiet evenings watching snow falling or leaves changing.