This album is what appears when numerous shades of jazz and improvisation are granted vocal narrative, then backed with smart beats and rhythms. These spontaneously created tracks defy many forms of compositional logic, yet feel natural and deeply addictive. Soulful, effortlessly groovy and singular work.
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Techno boy Max Cooper assembles fragments of vocal narrative, jazz improvisation and glitchy hiss into a record that somehow actually stands upright. How’d he do it, eh; these improvisations are all straightened out, here to follow down the line. Featuring vocalist Kathrin Deboer in staggering coos and howls that meander through mantras, along with the light tone horn-playing of Quentin Collins, Cooper creates a record that somehow flows through its razor-sharp IDM and subtle beatwork.
A short record of songs stretched ‘til they’re miasmic versions of their former selves, this feels like music to ascend an escalator to the heavens with. The elastic trumpet melodies of “Dusk Mass” topple ontop of one another with Deboer’s voice humming a safe, secure hymn, the whole thing becoming lost in a series of disappearing clouds. It should appeal to fans of underground new age releases, as well as those of you curious in what happens when someone makes a dance tune without thinking of where it’s going to end up. Fans of Ben Vince’s sax introspections should also study up.
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