Suche:x complex

'Universal Deluge' marks a significant shift for Ethan P. Flynn and is the by-product of an intensely fruitful creative few years. His unique songwriting craft, ear for production, and versatility have already seen him work with a diverse host of familiar names, including David Byrne, Celeste, and Black Country, New Road. He also co-wrote several songs and performed on FKA twigs' hugely acclaimed album 'Magdalene' and most recently collaborated with esteemed experimental producer Vegyn on the single 'Superstition'. Created over a three-year period, 'Universal Deluge' showcases the depth and breadth of Ethan P. Flynn's distinctive, multi-faceted production methods. Building on the success of his debut album B. Sides & Rarities Vol. 1, the Universal Deluge EP plunges into the darker side of experimental pop. Combining electronic experimentation with stripped-back acoustics, it is a further example of the swirling, psychedelic lo-fi masterpieces Flynn conjures. A sound which has seen him described "as great as Bowie, I'm just waiting for the world to see it... he's a legend in the making" by UK rapper Slowthai. Speaking on the newly released single 'Father of Nine', Ethan P. Flynn says "This song is about complex family relationships between people who haven't met each other. It isn't necessarily a love song at all. There's an urge to feel a kind of affinity with your ancestors but a lot of them were probably really terrible people. I was also thinking about how many weddings had to happen in the past for a person to exist- like an incomprehensible amount of weddings led to your birth."

Norwegian musician and novelist Jenny Hval
announces her new album, ‘Classic Objects’.
 ‘Classic Objects’ is a map of places; past places,
like the old empty Melbourne pubs Hval’s band
used to play in, public places Hval missed
throughout lockdown, imagined, future places, and
impossible places where dreams, hallucinations,
death and art can take you. It is interested in
combining heavenly things and plain things.
 ‘Classic Objects’ is Hval’s version of a pop album.
Every song has a verse and a chorus. There are
interchangeable moments of complexity,
interesting melodies throughout, and a feeling of
elevation and clarity in the choruses. Heba Kadry
mixed it to sound as though it’s played through “a
stereo in a mysterious room.”
 Since 2019’s ‘The Practice of Love’, Hval
published the English translation of her third novel,
‘Girls Against God’, and released an album under
the name Lost Girls.
 Hval will play London’s EartH venue on 11th April,
2022.

Alister Fawnwoda melds an abundance of influences into a sound that is expansive, ambitious, and authentic to its core. With a creative practice that flows between painting, production, DJ’ing, and beyond, Alister is committed to exploring the boundaries of his talents and potential. Working with an impressive array of unexpected collaborators, including most recently with the legendary Omar S. His upcoming collaboration with Suzanne Ciani and Greg Leisz to be released through AKP Records as an album, “Milan” furthers the very timely discussion of new ambient composers and how they are reflecting our presently tumultuous world through sound experimentation. Alister is persistently building his repertoire as he makes a name for himself as one of the most promising artists in the City of Detroit. For lovers of classic house, experimental ambient, and everything in between, Alister’s music presents the possibilities of creative exploration.

Piano, handmade electronics, tenor sax, couple strings.

I was after something tangible. Sounds you could roll around in your palm and consider different, complex, and flawed textures. Feel the weight, maybe even smell them.

This desire is probably a reaction to the dissociative nausea from the constant simulacra of these early 2020s. Like deliberately going barefoot to feel yourself grounded in a real place, as I read Andrea Needham did when facing charges for disarming a warplane.

Anyway, my methods to achieve these sound "objects" was to use a healthy amount of acoustic instrumentation with all its familiar sonic unevenness, to free sounds from rhythmic or thematic structure, and to give plenty of blank space around each note so the ear can reach in and pluck it out. A berry from a bush, an eyelash from a friend's cheek.

Really though, a lot of the time now I just want to listen to the birds. There are plenty on here. Mourning dove, titmouse, helicopter.

"Hunter on the Wing" is a reference to De'Andre Hunter, the Atlanta Hawks small forward.

KF, Dec. 2021

Diego el Cigala is, with any doubt, one of the greatest flamenco geniuses of our times. Not only because of his voice and charisma, but also for recording such vast and wide discography singing with majesty and no complex any style he could be challenged to perform. At Flamencoenvinilo we wanted to re-catch one of his early works back to his flamenco roots: "Entre Vareta y Canasta" (18 Chulos) was originally published in the year 2000 and, as many of his works, this album has proved the test of time and it has become a true classic. This will be the first time this album comes out on 12". Limited to 500 copies. Accompanied by Niño Josele (guitar) and a large group of percussionists, "Entre Vareta y Canasta" the second album by Diego El Cigala made him known among many people outside the traditional nucleus of flamenco for his simplicity, purity and mastery. The unique voice of this artist moves with naturalness and feeling in styles as different as martinete, bulería or fandangos.

Barbara & Ernie’s only release is a complex combination of soul, folk rock, and late 60’s psychedelia. The constant use of electric sitars, funk leaning bass e multi-layered vocals offers a different take on contemporary pop music, approaching several jazz and world influence. oul singer Barbara Massey and jazz guitarist Ernie Calabria paired up for this rare 1971 album. With Calabria having worked with Nina Simone and Harry Belafonte, among others, and Massey having sung backup for artists including Jimi Hendrix, Cat Stevens, and Herbie Hancock, the pairing was an inspired one and resulted in this superb soul-jazz outing. Massey has a dry yet passionate and evocative vocal quality that often brings to mind Grace Slick. Fittingly, the duo takes on Jefferson Airplane's "Somebody to Love," turning the Summer of Love anthem into a steamy and hypnotic soul-funk jam. Elsewhere, the duo touches upon such varying styles as folk, Latin, and psychedelic rock with cuts like "For You" and "Do You Know?," bringing to mind such similarly inclined acts as the Free Design and Bill Withers.

Sound can be a labyrinth, a twilight drift. Sound can truely unfold when it escapes logic or categorisation. For it is never really one thing or another, especially abstract, collaged or found sound, as it is always connected to a time and a place, or sometimes to an intention, or a notion, or – even more vague – to something as dubious as a feeling. So all this is inevitably inherent in a sound too. Sound is a fact but also an inbetween. In A Piece Of Work, concrete composer crys cole takes us on a journey through those inbetween places. Fragments collected over time in Oslo, Berlin, Vienna, Winnipeg, Melbourne and Lisbon were later arranged and assembled into an invented space, a story arc, a freeform poem. cole's work is one of dynamics and proximity, of complexity and sensitivity. One that embraces both montage and movement. Originally commissioned by Radiophrenia (Glasgow, Scotland), where it premiered in 2019, A Piece Of Work has been developed through live performances and studio sessions, naturally progressing over time and eventually leading to this final version presented here on vinyl.

Composed, performed and recorded by crys cole, 2019-21. With additional percussion by Oren Ambarchi and electronics by Seiji Morimoto. Mixed with Joe Talia at Good Mixture in Berlin, 2021. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2021. A Piece Of Work was commissioned by Radiophrenia in Glasgow, Scotland, and originally premiered in 2019.

Since its inception in 2007, Minimood has continued to explore the deeper, dubbier realms of techno, house and minimal, playing host to the likes of CV313, David Hausdorf, Steve O’Sullivan, Luke Hess, Sascha Dive, Delano Smith and many more. Now, label head Voltmar returns to the subseries Minimood Extra together with his good friend Polish DJ/producer Blazej Malinowski to serve up two individual atmospheric, dub-techno reworks of Russian underground duo Advanced Dreams’ ‘Blurred Trip’ pressed on transparent wax.

Inner Tension chief Blazej Malinowski’s interpretation of the aptly titled ‘Blurred Trip’ creates a complex sonic soundscape as evocative keys, subtle percussion, reverberating basslines and ethereal samples work in harmony. On the flip, Voltmar offers up a chuggy, stripped back reshape as ghostly echoes, tight snares, and a punchy bassline carry this profoundly emotive cut.

On their Dualtone Records debut 'Sticking With It', Seattle-based sevenpiece The Dip deliver the kind of unbridled soul/R&B that hits on every
emotional level, inciting everything from raw catharsis to heavy-hearted
reckoning to wildly exuberant joy
In a major breakthrough for the band, the self-produced album fully channels the
vitality of the freewheeling live show that's earned them an ardent following over
the last decade, expertly matching their sophisticated musicianship with a
fantastically loose energy. When met with The Dip's lyrical reflection on matters
both timely (the crush of late capitalism, the glaring need for true community)
and undeniably timeless (the vast complexities of love and loss), the resulting
body of work captures the mood of the current moment while offering immediate
escape into a more elevated state of mind.

Oh Yeah" - Charles Mingus (p, voc); Booker Ervin (ts); Roland Kirk (fl, ts, siren, manzello, stritch); Jimmy Knepper (tb); Doug Watkins (b); Dannie Richmond.

Commenting on this album in 1962, Billboard magazine wrote: »He seems to be everywhere, everywhere that is but on his usual instrument«. Charles Mingus, one of the most impressive musicians in the history of jazz, doesn’t play a single note on the bass for a change, but leads the band from his (blues-)piano – the instrument that he always used for composing. He hits the keys, he sings the blues, he shouts and he encourages – apparently Mingus really found the need to express himself loudly in this album. (Doug Watkins stood in for him on the contrabass.) "Oh Yeah" is definitely Mingus’s most powerful and passionate album. He calls on two hot, intensive saxophonists – Roland Kirk and Booker Ervin – as well as Jimmy Knepper on the trombone. Kirk is the main soloist, but all three wind-players deliver expressive improvisations, carrying out a non-stop dialogue with one another, and pushing one other to achieve maximum energy. The music is wild and ecstatic, but it’s not free jazz, remaining – as it does – grounded in blues and gospel. "Hog Callin’ Blues" is an enthralling shuffle with a wealth of riffs, "Devil Woman" a clever slow blues with inventive wind figures. "Ecclusiastics", with its constant change of rhythm and expression alternating between gospel and blues has the most complex form. Blues has always been a part of a black church service, said Mingus. "Eat That Chicken" (a homage to Fats Waller and his favourite food) even plays around with an old-time, Dixie feeling. Humour is never far away. Even in the atomic bomb song (this too, a sort of churchy blues) one hears the words: »Don’t let ’em drop it! Stop it! Be-bop it!«

First and foremost, deathcrash approached the task of putting together their debut album as music lovers. To all four members, a good album seemed to stamp out periods of their life, capturing a time, a feeling, a mood. This was their approach when trying to make whole two-years-worth of fragmented songwriting. Their songs may differ from each other in certain ways, but they manage to conjure similar feelings. ‘Return’ captures many of the difficult moments of the last couple years in the band members’ personal lives and yet, as a whole its complexity emerges as a beautiful and hopeful message. Amongst other things, writing the album was a cathartic process for the band, and so it can be for the listener too. The first parts of ‘Return’ came from quite a dark and jaded place. To get better can be a path marred by self-sabotage and a desire to hide. It can be easier to have no faith in something new, and rely on the comfort of an old feeling, even if it hurts. There is a reassurance in pain, a familiarity in its narrative. Return asks when things heal, where does the wound go? deathcrash recorded Return with their close friend and producer Ric James, who they’ve worked with since their early recordings. The album was recorded live, with an emphasis on dynamics, bringing together tense intimacy with atmospheric vastness. The members brought things to light they previously hadn’t, and shared words, riffs, ideas and thoughts for the first time. Each band member is able to see something that the others can’t, and write something unique. For deathcrash that is where the magic of making the album happens, when it clicks for everyone. As the album took form, a lot went on, and in many ways deathcrash got back in touch with a newer, more open feeling, sometimes happy, sometimes fearful. Something good returned that had previously been lost, and this is captured on the album. The album aims not to romanticise a dark place however, being equally about hope and renewal.

After years spent living on opposite sides of the Atlantic world events threw Laura Mary Carter and Steven Ansell of Blood Red Shoes back together into what has become the must fruitful era of their 17 years together.

“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”.

Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.

Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”.

And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band. Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.

Ichiko Aoba’s albums have only been available as expensive Japanese imports, until now. In November, Ba Da Bing will release Windswept Adan on 2xLP in North America, Europe and the United Kingdom, with deluxe packaging.

After creating her label, hermine, last year to celebrate her tenth
anniversary in music, Aoba released the most complex and rewarding
work of her career, 2020’s Windswept Adan. While audiences in
the west are only just learning she exists, her accomplishments are
unquestionable; she contributed to the soundtrack for The Legend of
Zelda: Link’s Awakening, was cited by Owen Pallett as an inspiration
(“I’ve never been so blindsided by a musician as I was by Ichiko
Aoba”), and has collaborated with the likes of Haruomi Hosono,
Cornelius (who met her only two years after she first picked up a
guitar and was blown away), Ryuichi Sakamoto, and recently Mac
DeMarco.
Ichiko Aoba’s iconic voice and classical guitar playing are
immediately recognizable, timeless sounds. Windswept Adan,
envisioned as a soundtrack for a fictional film, builds its own world with
sweeping co-production and arrangements from Taro Umebayashi,
which “recall the Wes Anderson scores of Mark Mothersbaugh or
the cinematographic swells of American composer Jherek Bischoff”
(Bandcamp). It’s the story of a young girl sent to the island of Adan, a
place where there are no words.
While international listeners of Aoba may not understand the words
she sings, and despite the central importance of lyrics in her writing,
it’s a testament to the power Aoba wields that one can resonate so
deeply with her work. No matter the breadth of her sonic palette, and
on Adan her scope is as wide and encompassing as Joanna Newsom’s
on Have One On Me, Aoba manifests an intimacy that makes one feel
in the room with her.
Ichiko Aoba’s work gained greater exposure in the past year as the
need for comfort grew while the world sequestered in solitude. She
has a rare musical gift that is matched only by her ability to hone it
into meticulous craft. Her music embraces and elevates alone time to a
generous and tranquil place. In it, listeners are invited to feel a sense of
consolation and possibility. The magic she imparts yields articles like
“Ichiko Aoba and the emotion of space during the pandemic;” in other
words, her effect is singular.

FFO: Arthur Russell, Stealing Sheep, Neu!, Agar Agar, Galaxians
Holodrum are a new disco-infused synth-pop group, who feature members of Hookworms, Yard Act, Cowtown, Virginia Wing, Drahla and more.

Maybe Holodrum were destined to start at this point. This might be the first time they’ve all officially worked together, but between Emily Garner (vocals), Matthew Benn (synth/bass/production), Jonathan Nash (drums), Jonathan Wilkinson (guitar), Sam Shjipstone (guitar/vocals), Christopher Duffin (sax/synth) and Steve Nuttall (percussion) they’ve shared bands, mixed each other’s records, promoted live shows and made music videos together in and around Leeds. As Holodrum, this is the 7 piece’s debut album, but the interlocking grooves and hot headiness of their repeato-rock-via-CBGBs dopamine hits have in one way or other been fermenting for years.

“When it comes to doing music most bands fall between two extremes of doing it for some goal or as an end to itself” says Shjipstone. “I think Holodrum is about the joy and complexity of living, and I just hope to god everyone gets to have a good time doing it.”

Ultimately the core of the group comes from Shjipstone and his former Hookworms bandmates Benn, Nash and Wilkinson. After their abrupt dissolution in late 2018, the four of them spent six months apart; Benn still had Xam Duo, his ongoing project with Virginia Wing and some-time James Holden & The Animal Spirits live member Duffin, Nash remains vocalist and guitarist of long-running DIY rockers Cowtown and helms his solo project Game_Program; and Shjipstone plays guitar with Yard Act. However, the four of them missed the sixth sense synergy they’d built-up playing together over a decade and soon enough demos were being swapped and new ideas were discussed.

The vision of a large live electronic ensemble formed quickly. Friends were added: Duffin and Nuttall – who was keen to resurrect the double percussion interplay that he and Nash had been exploring as part of motorik trio Nope joined first. Then animator and VIDE0 singer Garner crystallised the line-up by joining on vocals.

“Apart from Emily, all of us had actually played together before in a covers band at a New Year’s Eve party at the Brudenell Social Club a couple of years ago, so we knew we could have fun together” says Benn. “So we set up to be a live party band early on. We wanted lots of people on stage having fun, playing for people that also wanted to have fun. It makes sense we take inspiration from bands like Tom Tom Club and Liquid Liquid; they were trying to help people to party at a point when New York was quite a scary and dangerous place we’re doing the same, albeit in the face of a decaying world and a global pandemic.”

Covid-19 hasn’t given them much opportunity to do that yet, with two fledgling shows in late 2019 to their name before festival appearances at the likes of Bluedot, Sounds From The Other City and Gold Sounds were scuppered last year. However, the 6 tracks on Holodrum crackle with the energy of the dancefloor. Opening cut 'Lemon Chic' described by Garner as her “workout track” starts out sparsely, with tight drum claps and burbling synths holding a teetering suspense before the whole thing’s prised open, allowing beaming saxophone skronk to shine in. Garner’s vocals bob and weave around the syncopations of the track’s building cacophony.

It sets the stall for an album heavy on euphoria, built atop crisp interplaying percussion and acid-flecked grooves. At times Shjipstone provides a raw counterpoint on vocals, while elsewhere - like on the strutting, swirling disco of 'Free Advice' and 'Low Light'’s late night ping pong synths - the pair indulge in playful call and response as the instrumentation builds and contorts around them. 'Stage Echo' provides a respite of sorts halfway through, a swirling, fever dream of a track that peaks with big squelchy frequencies and cavernous reverb, before the album returns to its repetitious exercises in body-moving catharsis underpinned at all times by a relentlessly propulsive rhythm section.

Reissue of George Duke's classic 1975 jazz-funk-fusion album 'I Love The
Blues'
On the fourth album of his fusion cycle, George Duke substantially expanded the
number of his colleagues. As before, drummer Leon "Ndugu" Chancler beats as
the heart of the rhythm section, and the Brazilian couple, Airto and Flora are again
on board. The ten tracks perform a stylistic balancing act. The jittery funk of
"Chariot" and the smooth ballad "Someday" show off Duke's soulful vocal flair.
Flora Purim crowns the complex "Look Into Her Eyes" with her spheric sound as
she and guitarist George Johnson take care of business on this stratospheric
piece with its bluesy electric shuffle. With two high- voltage guitarists (Daryl
Stuermer and Byron Miller), "That's What She Said" points to the tie between rock
and funk. The most eye- opening outing occurs with star guitarist Lee Ritenour
stomping on "Rokkinrowl, I Don't Know", and its Hendrix parody. "Sister Sirene"
shows that, naturally, the typical dreamy Duke instrumentals are not left off the
album. An almost animistic soundscape is woven into the fabric of "Mashavu",
and "Giant Child Within Us - Ego" is a small fusion suite encompassing the
spectrum from the classical to the Zappaesque finale. The title piece is indeed a
blues, dished out pure and simple - a far cry from the sounds of the preceding
piece with its mountains of synthesizers. Rather, the sultry delta heat, the
acoustic simplicity and raw truth of the song prevail - the blues.

Re-mastering by: Cicely Baston at Alchemy/Air Mastering, London



Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others.

In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces.

In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo).

In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase.

DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin on trombone, Harold McKinney on Keyboards and Roy Brooks on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released. Notes courtesy of Tidal Waves

Tape

Foam and Sand is the ambient soundscape and visual project of award-winning composer and conceptual artist, Robot Koch. Inspired by the composer’s daily habit of meditation, ideas for the project started to take shape during the lockdown of 2020, growing organically under the radar until Foam and Sand was officially announced in 2021. Using tape recordings of slowed-down pianos, modular synths, and other sonic sources, »Full Circle« is a collection of 16 warm and organic ambient tracks. The signature sound is created with loops that magnify the irregularities and imperfections of cassette recordings and that are then shaped by the artist into hazy meditative journeys. Through the process, the grainy subtleties of sound give way to vast and lush atmospheric soundscapes, making audible the complex interplay of micro and macro and highlighting the interconnectedness of these two spheres in life.

“I started meditating 7 years ago. It’s interesting that meditation and medicine have the same root syllable. Meditating before working on my music resets my brain and helps me access ideas that are layers deeper than my conscious mind. Foam and Sand started as a self-soothing project which I now share with the intention of providing healing and inspiration to others.” - Robot Koch

TIME magazine counts Gifted Gab amongst the top female rappers in America. "Cause & Effect" is her vinyl debut, showing off Gab’s singular style, mixing complexity with wit, confidence with seduction, bars-upon bars of rapping with R&B melodies. Half of the album is hard-hitting gangsta murder music, while the flip side is effortlessly smooth. "It's for the after-party, the kickback. When you finally got the one you’ve been vibing with all night up close and personal,” as DJ Mike Ramos describes in the liner notes. Seattle underground hip-hop label Crane City Music is proud to release a special, limited-edition vinyl version of “Cause & Effect” on transparent red wax. The record is the color of blood and love, both appropriate analogies for its twin sides. It has been specially mastered by Adam Straney, has liner notes from DJ Mike Ramos, and is limited to 1,000 numbered copies.

“BLEU” is a deep, witty, and contemplative scroll through frustration and love. As journalist Jasmyne Keimig explains in her liner notes, the album is an optimistic look at “the money woes, the creeping loneliness, and the isolation of modern living.” This ten-song vinyl debut from choir kid-turned-rapper Dave B is introspective, intimate, and intensely personal, framed against lush production from a collaborative team of producers, including Papi, Sango, Wax Roof, Vitamin D, Daoud, Esta, and U. Moore. The single “CPU LUV” arrived with a music video that parodies a classic Microsoft commercial, and explores our smartphone obsessions, describing a romantic liaison where the couple choses scrolling on their phones over intimacy. Described as “one of Seattle’s brightest hip-hop talents” by local and national media, Dave B has received praise from Pigeons & Planes, Complex, HotNewHipHop, Okayplayer, Pitchfork, XXL, Essence, and NPR. He’s appeared on The Tonight Show and performed in arenas across America, Europe, and Australia.

The Seattle Times declared “On The Quarner” as one of the best albums of 2020, saying that “Stas doesn’t so much rap over beats as aerate her misty tracks with the feeling of a dream you’re certain is real.” The title is a nod to "On The Corner," the 1972 jazz classic from trumpeter, bandleader, and composer Miles Davis. Stas chops up the source material, reimagining and recontextualizing it as a single 16-minute musical suite for these pandemic days indoors. Seattle radio station KEXP calls this record a “masterwork that warrants uninterrupted listens”, while describing the former THEESatisfaction member as "a sculpture artist, building statues out of every musical element possible, stacking rhyming sounds and pitch-shifted harmonies, unpacking complex thematic concepts, and rapping circles around even the best of her peers just for the hell of it.” Northwest underground hip-hop label Crane City Music is thrilled to release a deluxe vinyl edition of “On The Quarner” on red wax with an extra 22 minutes of exclusive instrumentals and bonus tracks. This deluxe edition also includes a full-color lyrics booklet and liner notes by Larry Mizell Jr. Only 500 individually numbered copies have been pressed.