Note: Included with this review is a fascinating interview with Producer Scott Hanson and Jennifer Ortiz, the immersive engineer for Dolby Atmos.
Release Date: August 5, 2025
Label: Bigfork Bay
Immersing myself in the entire album in Dolby Atmos with the
special headphones the producer generously sent me was a unique and thrilling
experience. As a first timer, I was eagerly anticipating the depth and richness
of the sounds that this format would bring.
The engineering and production values must be top-notch to make
this format work, and based on what I’ve heard, they’ve done just that.
“Whitefish” opened the recording. The sound was clear and crisp.
There is a lot of melodicism in this song, particularly with the piano. There
is also a synth layer that drives the track along with a strong rhythm section.
I felt this was a very colorful and energetic way to kick off this listening
experience.
“Going-to-the-Sun” begins with a lovely piano introduction,
followed by a steady rhythm that features keyboard, drums, and bass. An
acoustic guitar lends its ambiance to the mix. An electric guitar arrives to
give a new rock edge, sounding very progressive once it’s in place. That
segment ends, and there is the quiet of the just the keys doing their work,
then it circles back to the original driving rhythms and melody. The composition
is excellent, with smooth transitions from soft to more energetic and rocking
sections. Once the electric guitar kicked in at various junctures, I thought of
Mike Oldfield. Those familiar with his work may recognize it in this track.
“Glacier” begins with a rolling piano accompanied by an acoustic
guitar, then quickly transitions to a more orchestral sound as layers are
formed, and the electric guitar reenters, lending another element of excitement
and anticipation for what may come next. Then, the bells chime for a bit, and
another transition occurs, with all the sounds merging into a complete
composition. I enjoyed how it all came together in the end.
“Stillwater” opens with a nice acoustic guitar, setting the
stage for another musical journey. And that is precisely what each track is: a
dissimilar journey of audio excellence. I really appreciated the different
layers of music at work and the insertion of the electric guitar; however, this
time, it was accompanied by fuzztone, which was a distinct difference. One
moment you are immersed in the magic of the music with a softness, then another
elemental force comes in. I heard the influence of Celtic music in this. The
music’s keyboards are the foundation upon which they build their sound. Lush
layers of ambient atmospheres populate this track.
“Bigfork Bay” begins with an acoustic piano, and immediately, a
synth is added to provide an additional layer, allowing the keys to float over.
The acoustic guitar returns once again, providing a solid backing for each part
to take off and grow within the song. If you listen via Spotify, the images in
the videos enhance the experience, highlighting the theme of Mother Nature. It
is so relaxing and interactive at the same time.
“Flathead Lake” is the closer, and it begins with a much
different approach and sound. The influence of legends such as Tangerine Dream,
Kraftwerk, Vangelis, and others is unmistakable, adding a layer of intrigue to
the listening experience. This track is a testament to the album’s eclectic
nature, characterized by its well-defined rhythm and predominant keys. Yet, all
the layers are distinctly heard, making the separation of the instruments in
this format quite extraordinary.
Flathead Lake: A Montana Album is a superb follow-up to their previous album, showcasing the artist’s growth and evolution. Listening to it with headphones in Dolby Atmos was a fantastic experience, and it’s clear why this format has gained such popularity.
Keith
“MuzikMan” Hannaleck-NAMR Founder
August
30, 2025
Tracks:
1. Whitefish
2. Going-to-the-Sun
3. Glacier
4. Stillwater
5. Bigfork Bay
6. Flathead Lake
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