Three vocal works recorded between 2014 and 2020 reveal the Berlin-based American composer's singular approach to voice as spectral instrument. Lotte Betts-Dean, Explore Ensemble, and Exaudi navigate Lamb's radiant harmonic language where phonemes replace text, vowel sounds emphasize overtone clusters, and the human voice blends seamlessly with bowed strings shifting between pure tone and noise.

color residua opens with four sections where composite melodies emerge through slow hocket between singers and strings. The multi-tracked pulse/shade features Betts-Dean's voice layered into what sounds like a chorus yet maintains an ascetic rigor – ambient-like freedom constrained by structural discipline. The title work unfolds over 26 minutes, inspired by Dhrupad music's long introduction forms: beginning with micro-variations on a single F, gradually introducing new pitches until gorgeous ascending spirals bloom in the final sections.

Nicholas Moroz (Explore Ensemble director) describes Lamb's achievement: "This balance between a kind of sensual or sonic richness and depth that comes from her radiant harmonic language, along with the slowness of time in her works... she's very generous and gives you space to move your focus, like viewing a painting."

Boring Like A Drill notes: "Betts-Dean heard solo in parallaxis forma, for voice and ensemble... her voice ascends, sometimes climbing, at others gliding, at times soaring into something beyond normal... The sound is beautifully captured, the resonance of St Nicholas' Church at Thames Ditton providing an almost unnatural sheen."

Music that invites the listener to shift focus between intimate detail and expansive atmosphere – for those drawn to Éliane Radigue, Phill Niblock, and spectral composition.