Mary Lattimore’s new album, Hundreds of Days, was recently featured in The New Yorker. Reviewed by Amanda Petrusich, the article also emphasizes the harp’s history and significance “in an era in which new synthesizer plug-ins are programmed, released, and then used by musicians within hours.” Petrusich reminds readers that the harp is more than “a novelty device, to be lugged out for weddings and other fancy ceremonies,” and that those stereotypes do not do the harp justice. Cue Lattimore’s album, which she says is “complex and expansive,” and evokes “seismic emotional shifts.” Though Lattimore does not sing on the album, Petrusich claims there is a clear narrative. “Her songs track what it’s like to experience something, and then to find yourself changed by it.”
Released May 18, 2018 by Ghostly International, Hundreds of Days is available to stream online or purchase as an LP or audio CD. The seven tracks also feature electric guitar, piano, the Theremini, and synthesizers, all played by Lattimore, who is now in demand as a session musician and recently relocated from Philadelphia to Los Angeles. Much of the album was created at the Headlands Center for the Arts, where Lattimore was in residence shortly after her move to California. She tells Petrusich that the music was written as a tribute to Philadelphia, and that the process helped her recall the life she had left behind. “For as much as I was loving Los Angeles, fresh and new, I was also missing Philly so deeply,” says Lattimore.