AloeĪn older study suggests a compound in aloe vera inhibits melanin production. After drying your lips, apply your favorite moisturizer. Leave it in place for about five minutes before gently rinsing it off with cool water. With a wet fingertip, rub the paste on your lips. TurmericĪccording to a 2010 study, turmeric may act as a melanin inhibitor. Gently apply the mixture to your lips before bedtime. Lime is another citrus fruit that may have anti-melanin production properties. The next morning, rinse your lips with lukewarm water. Lemon and sugarīefore bedtime, cut a lemon wedge and dip it in sugar. Repeat this routine every night until you see results. The next morning, rinse your lips with cool water. Every night just before going to sleep, cut a lemon and gently rub the juicy part over your lips. LemonĪ 2002 study suggests citrus fruit peel may act as a melanin inhibitor. You might, however, find a natural lip lightener that suits your needs.
Many hyperpigmentation treatments work by inhibiting an enzyme that produces melanin. Laser treatments and chemicals such as hydroquinone and kojic acid are often used to treat lip hyperpigmentation. The recordings on Sun Arcs conjure a similarly intimate view, one that can feel both magical in its simplicity and all the more compelling for what’s just out of frame.Treating hyperpigmentation is often a cosmetic decision. In one of his later pieces, he filmed a curtain blowing against an open window at sunset while he and his wife were eating dinner, the sound of their dishes faintly audible alongside their breath and the wind. “The isolation and silence, the lack of interruption, has been inspiring,” he said in a 2021 interview. Near the end of his life, Snow focused on art made with the perspective granted by his remote Newfoundland cabin. In addition to fellow Americana wanderers like William Tyler, whose experiments with krautrock on Modern Country set a precedent for the more fleshed-out songs here, Snow’s minimal but boundaryless approach seems a fitting model for Dungan’s evolving vision. For the nine-minute closer, “Wavelength,” he cites the 1967 film of the same name by experimental auteur Michael Snow, whose endless zoom-in technique he draws from by pulling us closer without limiting the psychedelic, open-ended appeal of his art. He recalls the way his dog slept on the floor beside him through the entire recording of “Fur,” whose pattering drums, pump organ, and clarinet each find subtle ways of offering companionship. In the liner notes, he refers to visual cues as often as sonic ones, and the recording process seems inextricable from the compositions themselves. Taking a tactile approach to each instrument, Dungan’s music transcends from merely pleasant to something inhabitable: places that you will want to return to. Like guests slowly arriving at a party and filling the room with conversation, the arrangement gathers at a natural pace that grows warmer and brighter as each new element joins in: a deep, sawing cello a childlike keyboard melody percussion that seems to echo the movement of Dungan’s hand along the fretboard. “Bloom” is Dungan’s most uniformly gorgeous performance to date, based on an open-tuned, fingerpicked melody that would sound equally at home on a solo guitar record or accompanying a singer-songwriter. Other songs feel like breakthroughs, new ways to ground his distinctive voice. “Green-Yellow Field,” meanwhile, is an improvised solo performance that sweeps with incidental harmony reminiscent of wind chimes, the pauses between each note carrying as much resonance as the strings. The title track is a duet between zither and the driplike, amelodic plucks of slide guitar, played high up the neck. Some tracks are devoted almost entirely to the instrument. His work centers on the sound of a 48-string zither, which he built specifically for the project: a texture that lands somewhere between harp and sitar. This sense of patience aligns Dungan’s music with genres like drone and ambient as much as jazz, and his use of acoustic instruments helps strike a blend that feels distinctly his own. He leaves an impression less through melody than through feeling: the kind of ecstatic release that comes from hammering a simple theme over and over, until its movements come second nature and each subtle shift promises to lead somewhere new. The project shares a name with a live album by jazz trumpeter Don Cherry, and the influence of improvisatory ensembles is clear in Dungan’s work.
#SUN OUTLINE FULL#
The results of his exercise feel clear-eyed and optimistic, ambitious and multidimensional enough to conjure the sound of a full band even though he is the only person in the room. To create his latest album, Sun Arcs, Dungan retreated to a cabin in the Swedish woods where his days were occupied solely by making music and walking his dog.
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