From the opening wheezing of processed feedback to the distorted organ outro graced by the calls of many a swainson's thrush, this EP is distinctly a product of the Pacific Northwest. Plays Thelma offers glimpses and impressions of an imaginary lake and its surrounding fauna (Thelma) that exists in a liminal realm visited by Portland-based Benoît Honoré Pioulard. The hypnogogic chords of "Malick" hearkens the overcast, nostalgic leanings of Rafael Anton Irisari's The North Bend (another PNW-inspired album). The EP transpires via processed, ambient adventurism, most of which was recorded onto magnetic tape. This medium is not clean sounding and gives these audio dreams that hazy nowhere feeling, often keeping the point where the guitar begins and the harmonium ends indistinguishable. "Hushes Gasp" is a very active piece, with many types of vocal takes pinging across a vast field at each other. A bit like birdcalls, performed by stranded spirits. "Calder" sounds like a heavily reverbed and gently electrified guitar feedback-looping on behalf of itself, but we may never know. This quality of hazy source material secures the dreamspace being orchestrated by Thomas Meluch (Benoît is his performance name, didn't you know?), but the textural aspect has been ramped up a notch in comparison to previous albums. Plays Thelma is a lively and personal experience in the nether, one that ends with a rich, Concern-like drone that escorts the listener to sleep under a willow tree by the lake.
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