‘Time to Run’ is the third, and final, single to be dropped, ahead of the release of Bill Laurance’s third album, ‘Aftersun’, next week. There are several, notable stylistic differences between ‘Time to Run’ and the other two singles, ‘Soti’ and ‘Madeleine’. The first is the greater focus on percussion than the other tracks. ‘Time to Run’ has really allowed Weedie Braimah to prove his worth as a percussionist on this project, and his contribution has resulted in a far denser texture than either of the other two singles.
Another major difference is the greater length. ‘Time to Run’ is the longest track from ‘Aftersun’ released so far, clocking in at 8 minutes and 24 seconds, and this allows for several, intense percussion breakdowns and interesting development of the piece’s melodic ideas.
The third difference is what really changes the feel of this track in comparison with the others. On ‘Time to Run’, Laurance trades in his piano for a Rhodes and a Clavinet. This results in a loss of the pristine, intricate feel to Laurance’s playing that could be heard in ‘Soti’ and ‘Madelein’, and replaces it with a greater emphasis on groove and the blending of textures. The Clavinet in particular is effective in delivering a particularly satisfying, continuous riff, that causes the overall texture of the piece to feel a little more rough.
‘Aftersun’ is due to release in just under a week (4th of March).