Lydia Ainsworth’s eclectic vision narrows on Darling of the Afterglow

Shooting night scenes like a police photographer, Lydia Ainsworth works in the palette that she knows best: pitch black, pallor white, autopsy violet. It was scoring her friend Matthew Lessner’s 2011 film The Woods, nominally about “hipsters who move to the woods to start a utopian society,” that the NYU and McGill University student was asked to sing over her dark creations; following years immersed in atonal classical experiments, the possibility that she could be one of the pop stars she adored as a child held an appealing possibility. Better yet, as a classically trained cellist who once composed a Philip Glass-inspired score for a 50-piece orchestra, she was uniquely placed to merge both worlds. On Darling of the Afterglow, Ainsworth’s second album, one of those worlds has begun to fade from her work.

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