Camus at Combat

In All of Us, Howard’s sonic compositions become a musical language through which he responds to the calamities and destruction of the contemporary world — not reflecting or mirroring them, but speaking to them and illuminating the aural sensations they produce. There are moments in All of Us where it’s clear that Howard has scored music for films, with sweeping orchestral crescendos that could be used to mark visual denouements in works of combat cinema (for example, in the fourth track An Hour Off For Friendship). Yet largely, the tracks are bound by their collective sense of unease and our shared sense of precarity.