Charlotte Hug’s “son-icons” are presently at the basis of countless spurts of inspiration, eight of them commendably rendered in Slipway To Galaxies. Basically, the Swiss violist/vocalist acts in a way that allows the sketches that she draws on translucent paper to influence music created on the spot and vice versa, sometimes to a point of complete unpredictability (check this wonderful video for a better understanding of the process). The class that transpires from this recording is equivalent to the uplifting qualities that identify the combinations of resourceful whimsicality, tense stasis and brooding transcendence found aplenty in these 65 minutes. Every nuance is unique in this woman’s palette. Her singing technique mixes birdcall, astonishment and sufferance (or, if so preferred, makes one’s imagination run riot with fantasies about an Ute Wassermann/Meredith Monk hybrid). On the other hand, the unusual methods and absolutely individual jargons informing each droplet of Hug’s creative liquids generate, almost preposterously, an uncharacteristic state of respite. It’s as if the incessant movement of those undersized sonic molecules produced a substantial texture carrying magnetic powers, this entirely conquered listener rendered inert by a blend of respectful awe and downright enthrallment. In a nutshell, we’re approaching Masterpieceland.