Sign Libra returns with a new video for “Sea of Nectar” off her upcoming release Sea to Sea due out February 14th via RVNG Intl. The project of Latvian-based composer and artist Agata Melnikova, this is her sophomore LP and follow-up to 2016’s Closer to the Equator (Sounds of the Dawn/ Antinote). Sea to Sea finds the artist turning her creative vision to the moon with the “seas” referenced in album and song titles referring to the basaltic plains mistaken for bodies of water on the lunar surface.
There’s an unapologetic New Age innocence to Melnikova’s music. The wonder of nature and cycles of creation play a huge role in the artist’s imagination. Influenced by BBC nature documentaries and an avid fan of rainforest sounds on YouTube, Sea to Sea continues Sign Libra’s focus on the wonders of the natural world–it just happens that this time her attention is turned towards the spectral orb of the moon.
For those not familiar, “Sea of Nectar” is a great introduction to Melnikova’s music and visual aesthetic. In 2018, she told Inverted Audio that besides using Wavestation plug-ins for Closer to the Equator, she also used the Korg M1–a best selling synth from the ’80s-’90s. While that might not be what is employed on Sea…, those accessible kinds of sounds can be heard on the track and it brings a vintage familiarity to the cut. This synth padded and rhythmic backdrop is the perfect environment for the artist’s amazing vocal additions. Wordless, Sign Libra’s melodic coos and sighs are a pure delight as they ululate her infectious curiosity.
The video finds Melnikova returning to do the visual honors. Following up on her delightful treatment for “Sea of Islands,” “Sea of Nectar” similarly creates a rarified three-dimensional environment. The previous effort featured a retro ’70s vibe with minimalist decor and that continues in the latest offering but with a more theatrical and arty space. In both cases, the artist’s spritely presence brings these computer-generated places alive as she dances about with unaffected abandon.
