Halo

There’s a moment a few minutes into this where Abigail Wyles’s voice sits right on top of the production—not over it, not buried beneath it, just there in the space it finds. Benjamin Damage and Doc Daneeka build something patient underneath, the kind of electronic track that doesn’t announce itself but lets you settle into it. The thing about good production like this is that it doesn’t feel like work. You’re not aware of the choices while you’re listening, which means the choices are working. By the third listen you start catching what they did with the frequencies, the way they left space for the vocal, and by then you’re already gone.