Imagine two musical powerhouses, each with a distinct voice, coming together to create something utterly unique. That’s exactly what happens when Julianna Barwick and Mary Lattimore join forces on Tragic Magic, an album that feels both familiar and otherworldly. But here’s where it gets controversial: can two artists so deeply rooted in their individual styles truly merge into something greater, or does their collaboration risk losing the very essence that makes them special?
Barwick and Lattimore share more than just a Southern upbringing; they’re both alchemists, transforming spiritually charged sounds into modern masterpieces. Lattimore’s journey began with the harp, an instrument steeped in divine history, which she mastered in the serene hills of North Carolina. Barwick, on the other hand, found her muse in the echoing voices of a church sanctuary, eventually weaving them into lo-fi records after moving to Brooklyn. Since 2019, their paths have intertwined, leading to a groundbreaking invitation from France’s Musée de la Musique in 2025. The museum, a treasure trove of musical history, challenged them to record an album using its ancient instruments. The result? Tragic Magic, a nine-day sonic adventure that’s as ambitious as it is intimate.
The album opens with ‘Perpetual Adoration,’ a track that’s undeniably beautiful but perhaps a tad too predictable. It’s a dreamy blend of Lattimore’s harp and Barwick’s ethereal vocals, yet it teeters on the edge of becoming overly sweet—a risk that doesn’t reappear in the rest of the album. And this is the part most people miss: while the opener might feel safe, it’s a deliberate choice, a gentle introduction to what becomes a wildly inventive journey.
As the album progresses, the duo’s chemistry becomes undeniable. ‘The Four Sleeping Princesses’ is a standout, starting with Lattimore’s minimalist harp before Barwick layers in synths and multi-tracked vocals. Here, the music evolves, building layer upon layer into a chaotic yet mesmerizing finale. ‘Temple of the Winds,’ composed by Roger Eno, showcases Lattimore’s precision and Barwick’s ability to create haunting, drifting melodies. It’s a masterclass in contrast, with Lattimore’s sharp notes juxtaposed against Barwick’s ethereal soundscapes.
Their cover of Vangelis’ ‘Rachel’s Song’ from Blade Runner is a bold move, but it pays off. Barwick’s rounded vocals evoke a fusion of Vangelis’ exoticism and Ennio Morricone’s dusty Western vibes, proving her versatility. Meanwhile, ‘Stardust’ is a seven-minute cosmic odyssey that feels far too short. With buzzing analog synths and Lattimore’s triple-time harp, it’s a track that begs for repeat listens.
Tragic Magic isn’t just a collaboration; it’s a conversation between two artists pushing each other to new heights. But here’s the question: does it fully transcend their individual styles, or does it occasionally feel like two separate voices rather than one unified whole? Let us know in the comments—we’re eager to hear your take.
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