{"title":"AKP Recordings","description":"","products":[{"product_id":"kalia-vandever-we-fell-in-turn","title":"Kalia Vandever – We Fell In Turn","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003e'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz.\u003cbr\u003e\u003cbr\u003eRecorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.”\u003cbr\u003e\u003cbr\u003eConnecting the dots between Jeff Parker’s 'Forfolks'\u003cspan class=\"bcTruncateMore\"\u003e, and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection.\u003cbr\u003e\u003cbr\u003eOn 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track \"We Wept In Turn\". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.”\u003cbr\u003e\u003cbr\u003eThrough this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632400515226,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2577417450_10.jpg?v=1773692331"},{"product_id":"dave-harrington-max-jaffe-patrick-shiroishi-speak-moment","title":"Dave Harrington, Max Jaffe, Patrick Shiroishi – Speak, Moment","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eFrom the opening swells of this striking debut recording, one can sense that there is deep listening taking place among this trio’s members. Entirely improvised in the afternoon of their first meeting, Speak, Moment cascades from gorgeous mountaintop revelation fanfare to rough hewn and ragged noise. Altogether, it is an opening salvo, a profound and unrepeatable moment in the lives of these three remarkable musicians. Dave Harrington, Max Jaffe, and Patrick Shiroishi have bewilderingly stacked CVs and accolades from here to the moon. Together, on Speak, Moment, they establish hypnotic and richly textured guitar-driven tapestries colored with the effervescent thread of a yearning saxophone melody that might be torn loose in an instant by thunderous percussion or febrile grooves.\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632417357978,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a1971193178_10.jpg?v=1773692824"},{"product_id":"howe-gelb-weathering-some-piano","title":"Howe Gelb – Weathering Some Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“Nature is in itself an improvisation. It can never be an accurately nor consistently planned thing. It should also be noted an extreme climate resonates with emotional wherewithal. Thus, these captured pieces of pianic atmospheres are simple paintings of the horizon, a semi still life, the net result of allowance, and never intended to be drawn again. Resonance achieved via residence.” - Howe Gelb\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRecorded in Barrio Viejo, Tucson, Arizona inside an adobe dwell insulated with denim to flatten the inherent reverb and soak up the nuance. Weathering Some Piano is a collection of thirteen instantaneous compositions held together by the ramshackle impulse of a signature plunk.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632435773594,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2071866392_10.jpg?v=1773693117"},{"product_id":"jessica-ackerley-all-of-the-colours-are-singing","title":"Jessica Ackerley - All Of the Colours Are Singing","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“All Of the Colours Are Singing” is a musical parallel to the state of flux and massive transitions in my life during the past three years.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThere has always been a tension between my roots in jazz and improvised music and other musical interests. After leaving New York City to pursue a PhD in Hawai’i I felt a freedom to lean into it more, but the geographic distances between myself and the album’s musicians presented various challenges.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eHow can you create inspiring, improvised music together with the distance of an ocean?\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTime was limited for developing the band’s chemistry with rehearsals in New York and Honolulu. An urgency to create collective magic shines through in this music because of it. The core trio of Walter, Aaron and myself recorded in Manoa Valley, HI, and the string arrangements were remotely tracked back in Queens, NY, by my friend, Concetta. I continually felt the pull between each world, both musically and geographically.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn late Spring 2023 when I started arranging the accompanying string parts, my closest friend in Honolulu was diagnosed with cancer. We had met shortly after my move in 2021 during the preliminary stages of this album, and had bonded over our mutual love\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eof art and painting. Throughout the arranging process I would spend time with her. It had a sobering impact on how the string trio shaped the previously recorded rhythm section material. About a week after completing the final album masters in February 2024, she passed.\u003cbr\u003e\u003cbr\u003eThis music is a documentation of my navigation amongst joy, change, uncertainty, and grief. I wanted to capture beautiful dynamic gestures and viscerally emotive sounds in response to it all.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e- Jessica Ackerley\u003c\/span\u003e\u003c\/p\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632445636762,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2635909299_10.jpg?v=1773693388"},{"product_id":"yai-sky-time","title":"YAI - Sky Time","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNYC dream jazz abstractionists YAI (David Lackner and John Thayer) return with 'Sky Time', a mesmerizing mix of woodwinds, waves, and ethereal echo. Moving deftly from ambient soundscapes through fourth world aesthetics, 'Sky Time' is a joyful and clear-eyed exercise of stop motion in slow motion.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632454615194,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a1551039760_10.jpg?v=1773693639"},{"product_id":"elijah-jamal-asani-as-long-as-i-long-to-memorise-your-sky","title":"elijah jamal asani - ,,, as long as i long to memorise your sky ,,,","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ein the summer of 2022, i spent sixty nights @ the grand canyon as an artist in residence. throughout my linger alongside the canyon, i followed the native wind whisper(s) until we found quiet, i mooted each theory re: how the canyon came to be, \u0026amp; realized the sky never falls asleep no matter how sweet a lullaby i play.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eon the fortyfourth morning, i descended into the abyss, hoping to arrive as deep into the mesial as this body allows. as i reached the middle of the chasm, i was confronted by a long throated river; upon entering, my body found the bottom of the water before my eyes could, \u0026amp; my fingers encircled a Zuni\/Ashwi emergence point at the basal of this river. following this touch, some dwelling muav stone became loose \u0026amp; met me at the surface, where we drifted back to the shore together.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ethat evening as the muav \u0026amp; i soften next to the fire, the sky slowly protruded with a new hue, allowing the last clouds to gently wonder “where is my lullaby?”. a shaded question that lie somewhere in between neveragainnavy \u0026amp; the tone of aftereveningamber; this particular hue reflected off of the wet surface of the muav stones \u0026amp; began to reveal sentiments engraved upon their fractures. with every fading saturation of this skies hue, the markings on\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eeach stone became perfectly legible. upon reading a few passages, i realized that these stones were epistles addressed to the river from the canyon walls and vice versa. each slate, less a stone, \u0026amp; moreso a letter of adoration confessing intimate details of the relationship between the river \u0026amp; the desert floor that would become the canyon walls. some were letters of love with spatter for words, while others were 'dear diary' entries engraved by a sharp yet bent tongue.\u003cbr\u003e\u003cbr\u003eafter turning on my field recorder, i spent the rest of the night placing each gravel sentiment where the water meets the sand; being sure that the rubble written by the river faces the walls \u0026amp; that each slab carved by the walls commanded a view of the river. before we could ask the moon, i fell asleep next to the memories \/\/ desires of a dream.\u003cbr\u003e\u003cbr\u003e\",,, as long as i long to memorise your sky ,,,\" is an audio journal comprised of the sounds \u0026amp; sentiments captured on that fortyfourth night inside of the canyon; an echo of the softness etched upon those muav stones; an aide-memoire on the long-lost creation story between the river, the desert floor, \u0026amp; all the elements in between that remain intertwined for as long as they decide, forming what we call the grand canyon.\u003cbr\u003e\u003cbr\u003e~\u003cbr\u003e~\u003cbr\u003e~\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632462905498,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2930316790_10.jpg?v=1773693823"},{"product_id":"chris-williams-odu-vibration-ii","title":"Chris Williams - Odu: Vibration II","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e“Odu is a process of unraveling. Each vibration must unravel anew.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStriking a balance between drifting levity and sculpted form, Odu: Vibration II the debut release from Chris Williams on AKP Recordings out September 26, melds a trio of horns with glacial synthesizers to evoke a music of slow emergence and ecstatic possibility.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDrawing parallels between the humid mystique of Apichatpong Weerasethakul’s cinema, the traditions of three-horn music, and the vibrational poetics of cave spaces, Odu: Vibration II is a deep study of resonance and the body’s response to it. “I composed from the place that connects me to sound most, modes of reaching ecstatic transcendence, spatialization, Black improvisational practices, and ambient music,” Williams shares. “The piece unfolds like a descent into an imagined cave, guided by a search awe, dizzying grandeur, and frenzied dissonance.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eA central figure in Brooklyn’s experimental sound community, one shaped by Piotr Orlov’s Dadastrain axiom of “rhythm, improvisation, community”, Williams steps forward here as a composer and conceptual leader. His creative path has been shaped by mentorship and collaboration: years spent working with expansive elders like Bennie Maupin, Nicole Mitchell, and Ras G; performing in\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eensembles led by Pink Siifu and Luke Stewart; and co-developing long-form projects such as HxH and History Dog. Since relocating from Los Angeles to New York, these experiences have formed a crucible, forging a singular voice that emerges from the haze with clarity and purpose—reminiscent in spirit only of Maupin’s A Jewel in the Lotus.\u003cbr\u003e\u003cbr\u003eCulled from a live performance at Roulette Intermedium, the album features Patrick Shiroishi and Kalia Vandever, whose distinct voices amplify the record’s layered emotional spectrum. “Kalia’s incredibly lush sound and Patrick’s ability to truly wail on the sax allowed me to approach the trumpet in a more melancholic, introspective way,” Williams explains. “I used electronics as a kind of sculpting tool—as you might use to carve stone or shape a terrain. Each vibration emerges from that sculptural curiosity.”\u003cbr\u003e\u003cbr\u003eThe result is a glossy yet fragile composite of breath, tone, and texture: billowing horns, filtered bells, and digital haze converge in waves of static and dissonance. The fever builds, momentarily swelling into something close to anxiety, before dissolving as quickly as a dream.\u003cbr\u003e\u003cbr\u003eEarlier this year, Williams released two other key works: STARK PHENOMENA (OFNOT) with HxH and Root Systems (Otherly Love) with History Dog. Odu: Vibration II sits at the intersection of those projects, tracing a throughline in Williams’ evolving relationship to the trumpet—not simply as an instrument, but as a vessel for vibration, memory, and transformation.\u003c\/span\u003e\u003c\/p\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632480141466,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2731420691_10.jpg?v=1773694073"},{"product_id":"ben-seretan-john-thayer-sunbeam-of-no-illusion","title":"Ben Seretan \u0026 John Thayer - Sunbeam of No Illusion","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eThere is no such thing as a field recording. Or perhaps it is more accurate to say that all capture of audio constitutes a recording of the field. To conceive of one’s studio as distinct from the outside world is reductive - us bed sleepers, us gasoline burners inherently inhabit the Earth. Acoustic panels, architecture, isolation booths - all exert some level of control over what gets in the microphones, but no recording is truly pristine, somewhere they crackle and buzz. Then they’re played back on technology made of elemental metals pulled from dirt. You might as well be aiming your condensers at the trees.\u003cbr\u003e\u003cbr\u003eThe critic Leo Marx in his analysis of the American Transcendentalists describes the “machine in the garden” - imagine a pastoral reverie punctured by a howling steam whistle, here comes industry. Two centuries following Whitman’s first publishing, after blight’s claimed 99% of American chestnuts, the upper Hudson Valley musicians Ben Seretan and John Thayer offer Sunbeam of No Illusion, an extraordinarily meditative collection of augmented keyboard improvisations that serves as reversal, a garden in the machine. Imperfections, signal noise, ground buzz, blips, plonks, glitches, and stutters accrete over clumsy, delicate loops of Rhodes, accumulating into something that very evocatively emulates the\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003esusurration of the leaves, the sparkling white noise of water, the calm swell of a breeze.\u003cbr\u003e\u003cbr\u003eThe album’s name comes from actual correspondence between Emerson and Whitman - Ralph praises Walt’s manuscript, he can’t believe how good it is, the 1800s equivalent of a fire emoji. The epistolary pull quote serves as cheeky acknowledgment of the mutual admiration of this project’s partnership. This is the duo’s first official work together, though they’ve both played in ensembles and toured together previously (up to you to decide who’s the Emerson and who’s the Whitman here). But it’s also a perfectly appropriate description of the serenity at the core of these sounds, a warm blade of sun laid across your cheek. And pulling something from these sages of old also draws in the haunted, crumbling charm of the historic river valley where the two both now live and record, a place of snaking waterways, 200–year-old industrial ruins, centuries of ghosts.\u003cbr\u003e\u003cbr\u003eIt is slow, intentional work profoundly acted on by seasonality. The two got together casually at Thayer’s creekfront studio over the course of 18 months, beginning each hang with a spontaneous keyboard gesture. They would construct hypnotic loops, transforming the audio through various novel means, like Thayer’s modular rig, his tape echo, or most notably his not-quite-perfectly-operable PrimeTime 93, a rack mount digital delay from 1978 with an uncanny rhythmic abilities. Over top the two traded off sprinkling overdubs - synthesizers, slide guitar, the very occasional percussion part. That rhythmic whooshing on “Wild Mint Breeze?” The sound of Thayer hitting nothing - simply the sticks cutting the air. Each track has a microseason - “Little Winds” like the geometric ice that flows upriver in winter, “Valley Spirit” calls out the crocuses of spring, “Peat Fire” like a humid night thick with smoke.\u003cbr\u003e\u003cbr\u003eMore natural than silence, more reflective than reflection, more peaceful than a moment of peace - Sunbeam is a fine slice of hyperreality, a nuanced, BGM-inflected postmodern pastoral, circuits and electricity conjuring light through the leaves. One part Yoshimura, one part Budd, one part Fennesz, one part Badalamenti. It’s an uncanny suspension, much like Lydia Kern’s sculpture featured on the cover - dried flowers kept alive, entombed in forever plastic and glowing in the sun. There are very few places left in North America where one cannot hear the rumble of multi-modal transport, but this record - sublime and often a little sorrowful - offers an alternative. The poet Richard Brautigan dreamed of a cybernetic forest, computers in the trees - here the wind is digital, trees rustling in binary. At peace with change and permeability, the metal resonance and electrical impulses of the Rhodes hum in the field of the studio as the Earth orbits the sun, an imperfect looping.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632541352090,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a3468339924_10.jpg?v=1773694535"},{"product_id":"prymek-sage-shelter","title":"Prymek \u0026 Sage - Shelter","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eChaz Prymek and Matthew Sage are old friends; after a spate of duo releases in the late 2010s and early 2020s, this is their first proper full length duo release in six years. Those six years have been busy for both artists; they are the primary songwriters in their project Fuubutsushi with Patrick Shiroishi and Chris Jusell, Prymek is busy with his Lake Mary project, along with being a curator and organizer in Salt Lake, Sage has had a string of albums on RVNG, as well as juggling being a professor, a parent, a gardener, and an artist in Northern Colorado. They both spent part of that time wandering the Midwest, but both share deep roots in the Mountain West, in Colorado and Utah. Shelter sees the duo settling back into the wide landscapes of where they come from, and also where they are going.\u003cbr\u003e\u003cbr\u003eThese were the first recordings made in the pole barn studio Sage set up in rural Colorado in 2022. Slowly and gently layered with sparse overdubs – yearning slide guitar, accordion, clarinet, recorder, delicate synthesizers – and sateen production treatments, the core of the album is a series of first take live improvisations with Prymek on electric guitar and Sage on piano. The album feels like sitting on a porch with an old friend and a warm cup of coffee while you catch up and talk about the good and the bad with a smile\u003cspan class=\"bcTruncateMore\"\u003e. Gentle and hymn-like, deeply melodious and patient. Channeling a humble spirit looking out on a majestic scene, things feel airy and pastoral, spacious and patient but a little tousled, windblown, chapped. Prymek and Sage have a long and wide catalog together, but something about Shelter feels like a new chapter and a benchmark for both of their practices containing the influence of years of sonic and artistic explorations, immense life changes, cross country moves, and all the warmth a sunbeam can bring along the way.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632574742682,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a3839581167_10.jpg?v=1773694917"},{"product_id":"dave-harrington-max-jaffe-patrick-shiroishi-making-colors","title":"Dave Harrington, Max Jaffe, Patrick Shiroishi - Making Colors","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eHarrington\/Jaffe\/Shiroishi are an experimental music trio from Los Angeles. The group works at a cross section of avant-garde, ambient, electronic, post-hardcore, and free jazz, but is not really any of those things. The group embraces a fully improvised ethos, with each performance and recording balancing intention with malleability to render specific moments in time and space into a growing body of spontaneous musical conversation.\u003cbr\u003e\u003cbr\u003eFollowing 2024’s debut Speak, Moment - which captured the very first meeting of the trio - Dave Harrington, Max Jaffe, and Patrick Shiroishi reunite for a multidimensional record that goes deeper into the many navigable musical territories suggested by its predecessor. The result, Making Colors, quietly stands among these three prolific musicians’ best work.\u003cbr\u003e\u003cbr\u003eMaking Colors is a carousel of hypnotic rhythms swung into avant-garde jazz, pairing fragile melodic movements with maximalist fervor. While lengthy stretches of the record are decidedly mellow - soft cymbal hits, a cooing sax, gentle guitar work - the record also contains a rollicking twin of free expression juxtaposed throughout. The record’s A-Side is punctuated as four distinct movements over a single take and is driven by this twinned energy\u003cspan class=\"bcTruncateMore\"\u003e. It also reflects a mission statement of sorts for the group’s approach to improvisation and life; while each movement stands on its own, they collectively triumph in the company of their neighbors. The record's B-Side further distills the emboldened trio's approach across three distinct movements reflecting a growing embrace of the sonic vacuum that electronic music depends on (the loop-oriented “need buy in”), a heaviness that the trio's 2024 live record Zebulon! unlocked (lead single “FRACTAL HASH”), and an outstretched and unhurried melodic ambience (the 12-minute album closer “trackerKeeper”).\u003cbr\u003e\u003cbr\u003eMovements gather texture; melodies yearn from Harrington’s guitar and find their companions in electronic sputters filling the cracks in Jaffe’s drum kit; Shiroishi’s magisterial sax passionately cries out and whispers in coded bits and bytes; the alchemy of this trio bends time to create a new musical language. In their ever-evolving performances, the overlapping timelines of each musician build into a dense and kinetic chorus that retains its nuance as it grows in immensity (the editing and mix was done by Jaffe and the mastering by Harrington, and many of the bold musical swings that set Making Colors apart from its predecessor take place in these post-production realms, where things like nuance and immensity are truly determined for the listener).\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThe swell recedes as elegantly as it appeared, with only colors left in its wake.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47632588013722,"sku":null,"price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a2138566294_10.jpg?v=1773695359"},{"product_id":"matt-evans-daydream-observatory","title":"Matt Evans - Daydream Observatory","description":"\u003cdiv class=\"tralbumData tralbum-about\"\u003eFollowing in the musical language of New Topographics (2020) and Soft Science (2022), Daydream Observatory points its lens towards self-examination and charts a course through a constellation of interior worlds. Sparked by a misunderstanding of the term ‘'psychogeography,” the album inhabits landscapes of consciousness, personal reflections, and skittering emotions through a collection of ten synth-saturated, drum-driven, “zone poems.”\u003cbr\u003e\u003cbr\u003eThe album vacillates from meditative to cacophonous, making up a kind of character alignment chart of things light, dark, wholesome, and misanthropic. The sound orbits the phantasmal chill-complexity of previous records while including and responding to several distinguished guests including Chris Ryan Williams (trumpet), Domenica Fossati (flute), Marta Tiesenga (saxophone), and Nyokabi Kariũki (kalimba). Their performances have been recorded, responded to, cut up, and re-sequenced meticulously to construct a kind of “soundscape bonsai” with a narrative logic that is simultaneously cathartic and lighthearted.\u003cbr\u003e\u003cbr\u003eInspired by Italo Calvino’s “Mr. Palomar”, Mark Bradford’s colorfully tattered collages, and maximalist referential streetwear brand “BootBoyz.Biz”, Daydream Observatory assembles a wide array of sonic worlds to present a detailed perspective on the everyday balancing of tragedy and comedy.\u003c\/div\u003e","brand":"AKP Recordings","offers":[{"title":"Default Title","offer_id":47979791614106,"sku":null,"price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0471\/5036\/6874\/files\/a1928941972_10.jpg?v=1778088453"}],"url":"https:\/\/club.insheepsclothinghifi.com\/collections\/akp-recordings.oembed","provider":"In Sheeps Clothing HiFi","version":"1.0","type":"link"}