Danny L Harle's latest musical offering, "Cerulean," presents a complex soundscape characterized by rich digital textures and aquatic synthetic melodies. This album marks a significant, albeit ambitious, departure, showcasing the artist's deep dive into a progressive electronic style that occasionally verges on the grandiose. While Harle's previous work within the hyperpop sphere was known for its playful and often ironic approach, "Cerulean" ventures into a more serious artistic endeavor, drawing parallels between contemporary electronic composition and classical operatic structures. The album's thematic undercurrents explore profound emotions, particularly heartbreak, set against the vastness of the ocean, a concept that has historically inspired numerous artists across genres.
The album's conceptual framework positions it as a substantial work of art, moving beyond a mere collection of tracks. Harle's ambition to intertwine modern electronic sounds with a classical sensibility, referencing figures like Monteverdi, is evident. He uses the ocean as a primary muse, or perhaps heartbreak as a secondary one, themes that have historically driven powerful artistic expressions from Kate Bush to SZA. This aspiration, however, often leads to an overly serious tone, where the pursuit of musical depth sometimes overshadows the element of enjoyment. The listener is invited to consider how contemporary electronic production tools can echo traditional instruments, even as the album seeks to establish its own unique compositional voice.
A notable aspect of "Cerulean" is its instrumental pieces, which are described as bordering on pompous. Tracks like "Noctilucence," inspired by bioluminescence, combine field recordings of the beach with synthetic noise, blurring the lines between natural and artificial soundscapes. "Teardrop in the Ocean" offers a sequence of swelling crescendos that, despite their scale, ultimately feel somewhat insubstantial. The core of the album features several water-themed compositions where vocal performances are overshadowed by the instrumental arrangements, with melodies that seem to drift rather than anchor the listener. For instance, "Island (da da da)" exchanges a conventional arpeggiator for an accordion, resulting in a distinct, yet sometimes unengaging, sonic texture.
The album also features a quartet of pieces where the vocal contributions struggle to find their footing within the dense musical layers. "Te Re Re" incorporates church-like choral arrangements, '90s progressive house elements, and world music influences, creating a fusion that, despite its varied components, lacks a memorable hook. Similarly, "Laa" blends these eclectic styles into a single track, while "O Now I Am Truly Lost" explores a sense of alienation through digital sounds, drawing comparisons to past electronic works but ultimately lacking their distinct character. These tracks, while showcasing Harle's technical prowess, sometimes fall short in captivating the listener's attention.
Conversely, "Cerulean" shines brightest in its collaborative singles. "Starlight" features PinkPantheress, whose vocals articulate the anxieties of vulnerability, allowing Harle to demonstrate his skill in producing hardcore techno, Y2K pop, and sharp digital sounds without overpowering her. This track exemplifies the promise of progressive music—the ability to weave diverse styles together with precision and intention. Julia Michaels brings her distinctive charisma to "Raft in the Sea," elevating the song's grand timpani and intricate arrangements. Caroline Polachek also excels in her features on "Azimuth" and "On and On," channeling a dancefloor diva persona that Harle adeptly complements, highlighting the playful yet committed aspects of their collaboration.
Despite these highlights, some vocal collaborations on the album do not achieve the same level of synergy. Dua Lipa's performance on "Two Hearts," while striving for the emotional intensity of artists like Robyn, ultimately falls short, revealing the difficulty in replicating such a nuanced vocal delivery. Harle's attempt to fuse it with icy electro sounds reminiscent of Robyn's "Body Talk" doesn't quite hit the mark. MNEK's powerful vocals on "Crystalize My Tears" are pushed to their limits, causing them to distort and lose clarity, while Oklou's voice in another track undergoes extensive filtering, resulting in a lack of a clear artistic vision. These instances contribute to moments where the album lacks both spiritual and sensual depth.
The most emotionally resonant segment of "Cerulean" is, paradoxically, its most understated: "Facing Away" featuring Clairo. Her lament, enveloped in Björk-esque arrangements of sub-bass and strings, lasts only 75 seconds but is profoundly beautiful. This moment suggests that Harle possesses the ability to create impactful, simple compositions, yet seems hesitant to fully embrace such directness. The album demonstrates Harle's immense talent, placing him alongside influential artists, but often leaves the impression that he is merely maintaining a steady pace rather than forging boldly ahead. His aptitude for intricate production is clear, yet the album's overall impact would benefit from a more consistent emotional connection and narrative focus.