Suche:lin

Steve Leach's Balearic beach-funk beast Ocean Potion, recorded with the Crystal Grass Orchestra is an absolutely ace, Ned Doheny-adjacent funky AOR / blue-eyed soul BBQ classic from 1976.

Who is Steve Leach, you ask? None other than Seasick Steve in a previous life! A French-only release on Philips, it's a hugely immediate, pop-funk firecracker. It features a wonderfully lush, full orchestral sound throughout, underpinning Steve's gorgeous voice and an army of brilliant backing vocalists.

The supporting cast is phenomenal and is arguably the salient reason this is such a fantastic record. We're talking legendary players from the French scene (think Arpadys, Voyage, Kongas, CCPP, Giant, Swing Family) such as Don Ray with his arranger-conductor hat on as well as synths, Marc Chantereau on percussion, Slim Pezin on guitar, André Ceccarelli on drums, Christian Padovan on bass and Pierre Halation on flute.

With these snakes behind the scenes, it remains a mystery how Ocean Potion is so relatively unknown. Hopefully, this long overdue reissue rectifies this and puts a stop to people dropping $200 on it.

Triumphant, horn-forward opener "The Light Of The Mind" has that uniquely Ned Doheny fidgety funk feel with a fantastically irresistible chorus and great harmonies. Just magic. The insouciant, swaggering "Hey! Hey! What You Doin To Me" is straight up white-hot feel-good funk with by turns sweeping and stabbing strings and a neck-snapping break. Crucial. Coming off like something off The Beach Boy's Surf's Up or Holland (including a sneaky "reason to live" reference that surely nods to "The Trader") is the brilliantly ominous, driving wall of sound of "Take Strength". Cavernous drums, urgent strings and a staggeringly good vocal performance make this a real highlight amongst an album of highlights. The blissful folk-funk of "The Lady Of The Sea" is a real naked heartbreaker, melancholic vibes and a beautiful flute line complementing each other perfectly. Side A closes out with "All My Life", a groovy island-funk white-reggae-tinged lilter which just about lands the right side of acceptable.

Side B opens with the gorgeous "You're The Only One Girl" before the propulsive Philly soul of "At Least We Got Love" elegantly glides into focus. Pulsing beats and piano working with that irresistible orchestra of grass. Glacial ballad "All Love's Children" has a deep New Orleans soul feel that truly soars whilst the breezy "Get Out In The Sun" owes a debt to "Crocodile Rock". It's pure pop for now people and wouldn't have been out of place on a late 70s Nick Lowe effort. Deep late-period Beach Boys gem "Golden Hues" is another heavy melancholic down lifter that really beguiles before the real reason you're all here. Pastoral closer "I Meditate Each Day" is just beautiful, and likely the reason this reissue is giving you that special feeling. Another gorgeous flute-led, folk-funk groover, it featured in a memorable mix from the Creme2laCreme crew (Raphael Top-Secret, Jerome Qpchan and Antoine Kogut) live on Red Light Radio over a decade ago and has been top of many heads' wants list never since. Just mellow out.

As ever, the audio for Ocean Potion has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve featuring a topless Steve reclining next to his piano on a flatbed truck on the beach (of course?!) has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Elias Rønnenfelt is a musician and poet best known as the lead singer and lyricist of Iceage. Heavy Glory is his debut solo album. Out October 25th via Escho. Heavy Glory was recorded in Copenhagen in chapters and moments over the course of a year. Collaborators include Iceage's Dan Kjær Nielsen, Danish punk godfather Peter Peter, and singers Joanne Robertson (Elias and Joanne have collaborated before, on a number of recent Dean Blunt releases) and Fauzia. "I've done this so many times," Rønnenfelt explains, speaking of the process of crafting a long player, "but capturing and crystallising an album remains a singular ritual, just with different circumstances. We are capturing something that is hard to hold down." Heavy Glory is a record that examines all the things that lovers do, from the most desperate to the most pure. The lover haunts the record, reappearing and provoking Rønnenfelt, pulling him in and pushing him away. Songs like "Close" describe the line between jealousy and protectiveness. "Unarmed" is a song of surrender. "River of Madeleine" harnesses toughness in the name of preservation, staying up all night to protect his lover's dreams. "Stalker" is an epic third-person story song in the tradition of the murder ballad. The record closes with two covers. The first, Spacemen 3's "Sound of Confusion," is a mission statement of the life Rønnenfelt has found and inherited in music. "Here it comes," the song famously promises, and flares out into noise. It is a joyful noise, because this life, in all its grit, is the life he chose. The second, Townes Van Zandt's "No Place to Fall," is a sweet plea, Rønnenfelt's final invitation to join him on his journey. This journey - this story, this record - will repeat and continue. It never stops. Rønnenfelt's life as an artist results in a sound that wobbles and rocks but never loses its centre, both fragile and tough, and always moving forward. It is dreamy yet bombastic, held together by the passion of certainty. Co-produced by Rønnenfelt and Nis Bysted.

Red Vinyl. Listening to Fashion Club's self-produced second album A Love You Cannot Shake feels like being caught in the crossfire of a profound beam of light. You can't help but feel both enlivened and exposed as its aberrant synth lines, artful strings and disfigured guitars swell into larger-than-life crescendos, which evoke a divine yet probing spotlight. Pascal Stevenson, the Los Angeles-based musician behind Fashion Club, likens the experience of hearing A Love You Cannot Shake to staring into the sun, and though the record wasn't written with religion in mind, its heavenly sonics and emotional sagacity also make it feel like a prophetic encounter. The album was shaped by Stevenson's gender transition and sobriety journey and parses her fluid emotions surrounding these events and other personal trials and tribulations. But as much as it's a dialogue between Stevenson's current and former selves, it's also an invitation for listeners to join her in the work of discarding bitterness and re-centering hope, especially when such efforts feel futile. Musically, A Love You Cannot Shake is an unshackling of expectations, as Stevenson's previous stint as bassist in the L.A. post-punk outfit Moaning and her first record as Fashion Club, 2022's Scrutiny, didn't necessarily reflect the full range of her taste, which includes ambient, pop, classical and dance music, or embody her sensitive tenderness and femininity. A Love You Cannot Shake also thrives on a fluid sonic palette. The album's magnetic immersiveness hinges on its strange dynamic shifts, jagged production and ambitious song structures with parts that don't repeat_choices influenced by her love of left-field electro-pop and her classical music background. While Stevenson handled most of the instrumentals on Scrutiny, this LP is much more collaborative, featuring an array of contributors who lent strings, piano, pedal steel and more. Plus, this album boasts country harmonies from Perfume Genius ("Forget"), high-pitched coos from Jay Som ("Ghost") and gauzy whispers from Julie Byrne ("Rotten Mind"). Stevenson's vocal evolution is also on display with this record, embracing a softer delivery that's more reflective of her personality and identity.

Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix's early magnum opus. Originally debuted in 1976 at the festival Brouwer's Lattice at Stockholm's Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix's close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix's friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed "hallucinogenic/ecstatic sound environments (HESE)," which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art. Since 2018, Blank Forms has spearheaded a comprehensive publication effort in support of her work, including the writing collection Poësy Matters and Other Matters (2018); archival recordings like Selected Early Keyboard Works (2018) and The Deontic Miracle's Selections from 100 Models of Hegikan Roku (2019); and recent compositions such as Blues Alif Lam Mim (2021) and Solo for Tamburium (2023).

limited edition 2xlp of 3138 copies on opaque white 180 gram vinyl LP1 original album remastered by Bob Weston LP2 full album remixed from original multi-track almasters liner notes by Steve Albini and Ethan Buckler gatefold jacket with full color inner sleeves hand numbered 1 through 3138 SLINT is a band from Louisville, Kentucky. tweez was its first recording. LP1: Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Studio from the original analog master tapes. LP2: tweethan mix. Per Ethan Buckler (Slint bassist on tweez), "Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording." In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said "Make it sound like this." LP2 of this "tweez (35th anniversary edition)" is the result. Mastered by Bob Weston at Chicago Mastering Studio.

The four-track EP Reinos Elementales opens with El Descenso de Inanna, an electrifying track characterized by dark atmospheres and a compelling rhythm that transports the listener on a journey as energetic as it is introspective.

Uroboros, the second track on the EP but the first to be composed, was born from the artists first jam session. A rhythmic journey characterized by the cyclical alternation of dub sounds and organic elements, conveying a warm and vibrant sensation thats hard to resist.

Malachite is another gem for the dance floor, where the elements
intertwine fluidly between an urgent rhythm and a liberating atmosphere.

Finally, Stato Liminare is the last track composed by the duo a perfect
B2 that adds a touch of surprise to the EP with its fractured and deep
rhythm. The composers recite a mantra in their native language, creating a magical and hypnotic vocal line that offers a sense of suspension between the tangible and the ethereal.

8 cuts of minimalist electronic bliss

"Dark Entries calls on Philadelphia experimental duo The Ghostwriters to resurrect their 1981 LP of minimalist mayhem, Objects In Mirrors Are Closer Than They Appear.

The late Buchla maestro Charles Cohen and multi-instrumentalist Jeff Cain joined up in 1971 to craft electroacoustic chaos as Anomali, later renaming themselves The Ghostwriters. Their collaborations with choreographers and visual media artists led to their singular style, straddling improvisation and composition, the oneiric and the immediate.

1981 saw the release of their debut album, Objects In Mirrors Are Closer Than They Appear, a whirling, messy, telepathic slipstream cascading across an imaginary landscape. Recorded in Don Buchla’s childhood home, Objects offers 8 cuts of minimalist electronic bliss, equal parts icy and quirky, with standout cuts including the grooving havoc of “Fix it in the Mix” and the otherworldly hymn “Moon Chant.” These angular pearls will be cherished by fans of John Bender, Ceramic Hello, and all strains of outsider 80s electronics.

Objects In Mirrors Are Closer Than They Appear has been freshly remastered and includes an insert with photos and liner notes. Proceeds from the album will be donated to SOSA (Safe from Online Sex Abuse), a nonprofit that combats online child sex abuse and trafficking"

IPPON is a rich music, with varied influences, which evokes the electro rock of Soulwax or LCD Soundsystem as well as dark disco.

Effective bass lines, cosmic synthesizers, saturated drums and reverberated vocals: the duo navigates between electro, languorous and sensual dark disco or even progressive pop rock

"?Released in the spring of 1989, Gang Starr’s debut album, No More Mr. Nice Guy, arrived right at the crucial intersection of the old school and golden age of New York rap. You cannot begin to discuss New York rap lineage without drawing a line through the first decade of Gang Starr. Should history be corrected to appropriately acknowledge Gang Starr’s influence and brilliance, it will need an origin story. No More Mr. Nice Guy is that saga. It’s a hard ridge in a changing landscape, the sound of everything shifting, the kernel of greatness germinating. It is Guru and Preemo. Preemo and Guru. An essential title not just for what it would lead to, but because of what it is."

When the Beat Konducta and his trusty alter ego link up for the sequel, another southern California blunt cruise ensues. The Adventures Of Lord Quas consists of a slow ride through the deepest corners of the crate, leaving no genre unearthed until it claims space in the haze of one’s imagination. It’s business as unusual: Madlib funnels his most twisted impulses and comedic sensibilities into a sonic slacker flck complete with good dope, bottom-shelf liquor, and a penchant for gazing mouth agape into the great unknown. But he knows Lord Quas like a good needle on wax, and they casually strut through the loops, much ado about frontin’. (Not like fake shit ain’t a big deal, but it ain’t a big enough deal.) This record captures Madlib and his id at their most frantic, indulgent, and often confusing; they trade neatness for chaos, continuity for collage in a barrage of the finest sounds this side of the B-side. It’s hip-hop that takes every visible risk, often striking gold and proving how in control the Loop Digga truly is. Don’t hit it too hard, your other selves might pay you a visit.

"""Population Four"" is the fourth studio album by the British alternative rock band Cranes, released in 1997. This album marks a major change in the lineup. With bassist Cope leaving the band, Jim Shaw took on the role of lead guitar, Francombe transitioned to bass, and new member Manu Ros joined as the drummer. The album showcases a more traditional sound, as Cranes move away from stark and mysterious vocals toward acoustic guitars and standard drums, while maintaining their distinctive ethereal blend of dream pop and gothic rock. Alison Shaw's haunting vocals continue to take center stage, as the band embraces a more mature and refined sound. Tracks such as ""Brazil"" and ""Angel Bell"" demonstrate their ability to blend lush melodies with introspective lyrics. The single “Can’t Get Free” is a haunting and atmospheric track that encapsulates the band's unique ethereal style, cementing their status as a cult favorite. This re-release comes as a limited edition of 1000 individually numbered copies on silver & black marbled vinyl."

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

Nice Swan präsentiert die erste physische EP der heute Londoner Musikerin Ciara Lindsey aka Kynsy, die nach ersten Singles und der Digital-EP "Things That Don't Exist" (2021) frenetische Kritiken (u.a. NME, DIY, Dork) einfuhr, in denen ihr prickelnder, ohrwurmiger Indie-Rock mit Grössen wie The Strokes und St. Vincent verglichen wurde. Kynsy wuchs in Dublin auf, einem Ort, der jahrzehntelang Schriftsteller und Künstler hervorbrachte, wie zuletzt Ciaras alte College-Freunde Fontaines D.C. und The Murder Capital.

- "Genre-hopping anthems that flaunt grit and glamour...a masterclass of channelling angst into disarming indie for a new generation." - NME

- "Kynsy’s world is one bursting with colour and brimming with authenticity." - DIY

- "Indie rock that blends hyperactive energy with neo-noir sense of style." - The Line Of Best Fit

- "Kynsy is Ireland’s indie-pop star on the rise. Such is the lightning-in-a-bottle quality of her talent." - Paste

Pedro Bertho, following the positive reception of his debut
album Mêlé, which features notable tracks like "Tigueretá"
and "Jour 4"—both frequently highlighted in Boiler Rooms
and sets around—has launched his own label, Chez Pedro.
Dedicated to consistently releasing new music, the label
plans to unveil monthly tracks, showcasing Bertho's ongoing
creative drive and deep passion for music without
distinctions of genre. His latest offering, Starlit Craves,
compiles tracks curated over the past two years. Previously
unreleased, these tunes have been meticulously crafted for
the dance ­oor. Each track on this EP re­ects Pedro Bertho's
distinct style and artistic vision, guiding listeners through an
immersive and exhilarating musical journey. Let Me Tell You:
Infused with electro vibes and in­uenced by Detroit’s rich
musical legacy, this track blends intricate rhythms with
soulful melodies, delivering a captivating sonic experience.
Blue Hot Monday: A hypnotic techno odyssey where
pulsating beats merge with deep bass grooves, creating an
enveloping atmosphere that lingers long after the music
ends. Shaved: A dynamic fusion of house and techno,
pulsing with rhythmic intensity and layered textures, inviting
listeners on a groove-driven exploration. Rouya: Radiant
melodies and hypnotic rhythms transport listeners to a sunlit
realm, intertwining uplifting harmonies with intricate sonic
nuances seamlessly. Have You Ever Played in Abidjan:
Exploring percussive intricacies and dub-infused textures,
this track offers a captivating blend of rhythmic diversity andatmospheric depth, evoking vivid imagery and immersive
storytelling.

"Ultravisitor" ist seit seinem Release im März 2004 zum Fanliebling und einem der beliebtesten Platten in Squarepushers gesamter Diskographie avanciert. Mit seiner einzigartigen Mischung aus Studio- und Live-Aufnahmen ist es gleichzeitig ein hervorragendes Beispiel für die Vielfalt seiner Musik: vom frenetischen Titeltrack über den funky Jazz von "Iambic 9 Poetry" bis zur sonnendurchfluteten Glückseligkeit von "Tommib Help Buss" und darüber hinaus.

Zum 20. Jubiläum präsentiert Warp eine erweiterte Deluxe-Version in einmaliger, limitierter Auflage, die von Jason Mitchell (Loud Mastering) unter der Ägide von Tom Jenkinson sorgfältig von den Originalbändern remastert. Tom hat die Gelegenheit genossen, die Bänder noch einmal zu überarbeiten und den Stücken neue Dynamik und Details zu verleihen.

Das beigefügte Bonusalbum "Venus No.17 Maximised" besteht aus ultra-raren Tracks einer Ultravisitor-Promo-EP, der "Square Window" 3"-CD (die bei Vorbestellungen über WarpMart gratis mitgeliefert wurde) sowie der "Venus No.17" EP (alle aus 2004). Das beiliegende Booklet enthält seltene Fotos, Flyer und Aufnahmedokumenten, darunter einer Anleitung zu allen Geräten, die Squarepusher damals verwendete.

Population Four signaled the first major change in the lineup of Cranes with the departure of bassist Cope. Jim Shaw stepped from behind the drums to take over lead guitar duties in full, Francombe switched to bass, while new member Manu Ros settled behind the drum kit. The band is ultimately the most conventional it’s ever been on Population Four. In this album Cranes continue a change strongly evident in Loved from the stark and enigmatic vocals of Alison Shaw and their more synthesized sounds to acoustic guitars and standard drums.

Available on vinyl for the first time as a limited pressing of 1500 individually numbered copies on blue & white swirled vinyl. The package includes an insert.

After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Red vinyl, limited to 300 copies. After a nine year hiatus SUN AND SAIL CLUB are back and they've come back swinging! This album is more aggressive than the previous album, as if that was even possible. Same line-up as before featuring Scott Reeder (FU MANCHU/SMILE) on drums, Scott Reeder (KYUSS/THE OBSESSED/FIREBALL MINISTRY) on bass, Bob Balch (FU MANCHU/SLOWER/BIG SCENIC NOWHERE/YAWNING BALCH) on guitar and Tony Adolescent (THE ADOLESCENTS) on vocals. The album starts with a mellow jazz guitar piece and then proceeds to rip your face off until the end of the album, which closes with another solo jazz guitar piece. "Shipwrecked" is their strongest album yet. Fully realized and to the point. Fast and dissonant. "This album is a compilation of riffs collected over a nine year period. Most of the songs were written last year but some of them have been floating around for a while. There is a general sense of unease throughout. I wanted to make an album that went one step further than "The Great White Dope." The songs are faster and more intense at times. It's basically the soundtrack of me beating the shit out of my guitar. Then you factor in Scott Reeder on drums, Scott Reeder on bass and Tony Adolescent on vocals and you've got something more than I could have imagined by myself. This album is raw and pummeling. If you're a glutton for punishment this might be your desert Island record." - Bob Balch Recorded at Jim Monroe's The Racket Room, Casa De Balch, and Scott Reeder's The Sanctuary

Something About Livingis an album of live recordings by experimental jazz composer/multi-instrumentalist Robert Stillman. The music was captured over the course of Stillman's time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour's North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman's ever-transforming live set.

Something About Livingis the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman's work on projects like his multi-media installationUnseen Forcesand his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.

"At the time The Smile asked whether I'd like to open for them on their first tour, I felt like I'd already been preparing without really knowing it," says Stillman. "I'd been doing this music constantly, but always for a hypothetical audience" During the pandemic, Stillman's solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring "the lab" onto the stage.

What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. "The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I'd done alone for so longactually being witnessed, and it was completely overwhelming!" On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. "It's a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I'd never fully appreciated."

Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. "An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they'd find their way to something structured, and then back out again into the unknown. It was so thrilling to witness".

ThoughSomething About Livingcompiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between 'chaos and control' that characterizes his live set. Among the compositions featured are some from previous album releases ("Time of Waves", "What I Owe", "What Does it Mean to Be American") as well as some new compositions ("The Dream of Waking", "Renaissance 2.0," and the title track, "Something About Living").

The album/track title "Something About Living" is a reference to a line from Stillman's favorite film,My Dinner With André: "André Gregory is explaining the value of life experiences that, as he says, are'to do with living'.That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that's reflected in this music."

[a] 01: Time of Waves (Live in Miami FL) [Live]
[b] 02: What Does It Mean to Be American (Live in Forest Hills NY) [Live]
[c] 03: The Dream of Waking (Live in St Augustine FL) [Live]
[d] 04: Something About Living (Live in Richmond VA) [Live]
[e] 05: What I Owe (Live in Chesterfield MO) [Live]
[f] 06: Renaissance 2.0 (Live in Chesterfield MO) [Live]

“Christmas is constant,” says Ben Folds. “Allowing you to take stock of what’s different, to understand who you are and all the ways you’ve grown and changed.” That notion lies at the heart of Folds’ brilliantly titled new holiday collection, Sleigher. Built on an eclectic mix of originals and reimagined classics, the album examines thepassage of time through the lens of Christmas, reflecting on memory, loss, and longing as it explores the variety of ways the yuletide season marks the chapters of our lives. The songs are playful here, full of humor and cheer, but they’re also laced with an inescapable sense of melancholy, a looming darkness that always seems to hover around the periphery of those late December nights. Folds’ performances, meanwhile, flirt with the standards while stretching the boundaries of tradition, at times offering up flashes of Vince Guaraldi and Burt Bacharach while still remaining true to Folds’ singularly virtuosic brand of off-kilter indie pop. The result is not so much a Ben Folds Christmas record as it is a Ben Folds record set at Christmas, a meditation on the inexorable turning of the calendar and our ever changing selves as observed at the most wonderful—and challenging—time of the year.