Cate Le Bon is an elusive talent, adept at evoking emotional states without fully explicating them, suggesting resonances with other times and places without ever unpacking them. Her latest album, Michelangelo Dying, for instance, has very little to do with the renaissance artist, mentioned in a fragment of “Love Unrehearsed,” and whatever that connection is, Le Bon is uninterested in revealing it. But even so, the piece conveys a fluid, complicated relationship with love and art and longing, one revealed in bits of startling sonic clarity, but also hidden in suggestion, implication and mood . . .
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