Best known for his work playing bass in Red Thread Theory, Michael Mosley is the creative mastermind behind rhythmspitter. Conceptually inspired by Bill Laswell‘s Material and Jah Wobble’s Invaders of the Heart, Mosley’s rhythmspitter sees him combining various world instruments and rhythms to create instrumental, lo fi, beat-driven indie rock meant to vibe with and chill.
rhythmspitter’s latest single “First Movement” is a decidedly minimalist yet composition built around glistening and looping guitars, atmospheric synths and a sinuous bass line paired with a motorik-like groove. The result is a song that reminds me of Minimal Compact — but much more laid back.
Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have long been focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo, they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix EP was also released in 2021 and featured reworkings and remixes of Gas Lit material by Moor Mother, Chelsea Wolfe and Bearcat.
Last year, the duo toured across North America and Europe, opening for Low, which included a stop at Webster Hall, as well as headline dates and festival appearances.
The acclaimed Aussie outfit’s fourth album, the Ruban Neilson-produced Systemic was officially released today through Invada. Thematically, the album sees the duo exploring the systems that intrinsically bind us — and calls for a system that facilitates life for everyone. It’s a message that fits firmly with the band’s core intentions: to make music that honors their ancestors and Indigenous lands, to oppose white supremacy, and to work towards a future of Black and Indigenous liberation. “This music is an acknowledgement of the dispossession that occurs due to colonial violence,” Divide and Dissolve’s Takaiya Reed explains in press notes. “The goal of the colonial project is to separate Indigenous people from their culture, their life force, their community and their traditions. The album is in direct opposition to this.”
Recorded as a duo, the album according to Reed is a continuation of Gas Lit. “Because of what was built with Gas Lit, Systemic is able to express itself.” She adds, “The album is a prayer to our ancestors. A prayer for land to be given back to Indigenous people, and for future generations to be free from this cycle of violence.”
Reed emphasizes that it’s crucial for their music to be instrumental. “I believe in the power of non-verbal communication,” she continues, “A huge percent of communication is non-verbal. We learn so much without using words.” There’s one exception on the album, the spoken word track “Kingdom of Fear,” which features writer and artist Minori Sanchiz-Fung, who contributed to previous Divide and Dissolve albums.
In the lead-up to the album’s release, I wrote about two released singles:
“Blood Quantum,” a composition built around a dissonant and insistent thumping of crashing cymbals, thunderous snare, Melvins-like guitar sludge, wavering synths and horns paired with mournful yet gorgeously orchestrated passages meant to evoke brief moments of respite. The song is rooted in — and expresses awe-inspiring beauty and heart-wrenching anguish of human existence. “The heaviness is really important,” Reed says. “It’s congruent with the message of the music, and the heaviness feels emblematic of this world’s situation.”
“Indignation,” a composition, which begins with a gorgeous introduction featuring looping and mournful saxophone and yearning strings that quickly morphs into the song’s second and longest section, a stormy and forceful dirge featuring power chord-driven guitar sludge, thunderous drumming and wailing strings, before ending with the mournful saxophone and yearning strings of its introduction. Divide and Dissolve’s Reed says that the song “is a prayer that land be given back to Indigenous people. A hope that future generations no longer experience the atrocities and fervent violence that colonisation continues to bring forth.”
Systemic‘s third and latest single “Want” is a noisy yet yearning composition built around shoegazer like layered textures that include doppler effected-like oscillating feedback and brooding undertones. “‘Want’ is a deep dive into longing within a decolonial framework,” Divide and Dissolve’s Takiaya Reed explains. “We can want many things, but how will it happen? What is necessary, what systems must be broken in order for people to live?”
Continuing their ongoing collaboration with director Sepi Mashiaof, the accompanying video for “Want” features a variety of imagery that spins endlessly to the song’s oscillating tones. “As ‘Want’ is the song that introduces us to ‘Systemic’, the concept for the video emulates this kind of infant yearning for worlds beyond our current heartbreaking reality. There are so many beautiful textures above our heads that are inaccessible (as there are so many desired modes of existence that are inaccessible), and the rotation emphasizes the limbo of what that desire feels like. Trying to reach something, but succumbing to the loop of failure. Still, that infant yearning is persistent, and that compliments the need for hope and cements the importance of idealism as essential tools in our greater struggles for liberation.”
Formed in 2021, Paris-based collective Asynchrone — Aloe Blacc‘s Clément Petit (cello), producer and musician Frédéric Soulard, Hughes Mayot (clarinet, sax), Delphine Joussein (flute), Manuel Peskine (piano) and A.L.B.E.R.T.’s Vincent Taeger (drums) — features a collection of musicians across the city’s free jazz and electro scenes, who wanted to honor the work of the late, legendary Japanese jazz keyboardist and composer Ryuichi Sakamoto. Influenced by Sakamoto’s freedom, mysticism and his ability to draw inspiration from Debussy and Kraftwerk equally, the Parisian collective revisits his massive back catalog with a breath of rebellious freedom and a communicative pleasure of playing. Fittingly, the members of Asynchrone see their endeavor as more than a tribute to a frozen, seemingly static body of work, but a tribute to pure creative freedom.
The Parisian collective burst into the scene with last year’s debut effort, Kling Klang EP. Sakamoto died from rectal cancer earlier this year, and a few months after his debut, the members of the Parisian jazz outfit announced that their full-length debut, Plastic Bamboo, will see a a September 29, 2023 release through Nø Førmat!
Plastic Bamboo‘s first single, title track “Plastic Bamboo” is the Parisian outfit’s loving yet subtle interpretation of Sakamoto’s “Plastic Bamboo,” which originally appeared on his full-length debut, 1978’s Thousand Knives. The original version sonically seems like a mischievous mix of Man Machine-era Kraftwerk, Parliament Funkadelic/Bootsy Collins-like funk built around a deceptively minimalist yet classical- melody. The Asynchrone rendition subtly modernizes the original, giving it a jazzier and percussive L’Eclair/Mildlife-like trippy groove while retaining the minimalist classical melody.
“The original version sounds like slow Funk mixed with influences from Kraftwerk, with a very melodic theme that reminds you of François de Roubaix’s music,” the members of Asynchrone explain. “This new refined and dynamic version gives more space to the drums, cello and rhythm boxes that give a sense of urgency to it, while the flute and the piano are playing the theme, giving it an exotica touch.”
Los Angeles-based JOVM mainstays Allah-Las — Matthew Corriea (drums, vocals), Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ, vocals) and Pedrum Siadatian (guitar, synth, vocals) can their origins to when its members first bonded over psych rock vinyl in the back room at Amoeba Records. And over the course of the past 15 years, the Los Angeles-based quartet have been busy: they’ve developed a reputation for alchemically blending surf rock with folk rock jangle and rock; they’ve built up their lauded music podcast Reverberation Radio; and their record label Calico Discos.
Naturally, a lot has changed throughout the years, and their forthcoming album Zuma 85 reportedly finds the quarter facing a new world with a wealth of new sounds.
The pandemic-induced downtime between 2020-2022 opened up space for the members of the band to focus on their own lives and interests, and the time to re-envision what their creative process could look like and be. When it was safe to reconvene, a sense of looseness proved to be pivotal. Instead of bringing finished songs to the studio, they arrived at Stinson Beach-based Panoramic House with sketches, ideas and riffs.
Working with co-producer Jeremy Harris, the band crafted and shaped the album’s material over the course of three sessions, which were then mixed in Los Angeles by frequent collaborator Jarvis Taveniere. It was clear to the band that the studio’s bucolic environment — observed through picture windows overlooking Stinson Beach and Bolinas Bay — would be conducive to creating Zuma 85‘s material. “We got in real late that first night of the first session,” Allah-Las’ Miles Michaud says. “It was around midnight. We had a quick intro and Jeremy had a bottle of wine. We had a little and he said, ‘You wanna start recording?’”
They wound up recording something. When the group reassembled the following morning to listen to what they recorded, they found the session’s first song “Right On Time” mostly finished. It managed to be unlike anything the band had ever recorded, but it felt entirely natural. “Everything just worked,” Michaud says. “That studio just pulls it out of you.”
Zuma 85 derives its title from a photo of an abandoned by California-based photographer John Divola. Selected by the band’s Matthew Correia, the band’s resident photography fan and graphic designer, the photo juxtaposes a visage of man-man chaos against the natural beauty of the West Coast. It served as a reference point for the album, a symbol for the band’s new era.
Sonically, Zuma 85 reportedly sees the band leaving the familiar territory of their previously released material and embracing newer influences like late-era Lou Reed and John Cale, Peter Ivers, early Brian Eno and Roxy Music, as well as textures borrowed from Japanese pop and loner-folk obscurities. Some of the album’s material touches on komische, others are antehmic and electronic boogie, and there are even prog rock inspired material.
Zuma 85‘s first single, album title track “Zuma 85” is a dreamy composition built around a glistening and looping guitar lines, twinkling percussion, a driving groove powered by relentless four-on-the-floor and atmospheric synth textures paired with an easy-going yet catchy groove. The end result is a trippy take on the komische sound.
The JOVM mainstays will be embarking on a lengthy international tour that features an August 4, 2023 stop at The Rockaway Hotel and a September 11, 2023 stop at Amsterdam’s Paradiso, one of the world’s great music venues. Check out the rest of the tour dates below.
Tour Dates
6/15 – 17 – PiP Fest – Oslo, NO
6/16 – Bergenfest (Bergenhus Fortress & Castle) – Bergen, NO
6/17 – Pumpehuset – Copenhagen, DK
6/20 – Slaktkrykan – Stockholm, SE
6/22 – Selección Sonora @ Centro Cultural Ágora – A Coruna, Galicia, ES
Emerging Mission, British Columbia-based electronic music artist and producer Adam Gill writes and records under the alias GhostfaceK45, a name that pays homage to the Wu-Tang Clan and Michael Jordan. Gill says that his own production methods are inspired by RZA.
His latest single “Skyfall” derives its title from Adele‘s “Skyfall,” which was featured in title sequence of 2014’s installment in the James Bond series, Skyfall. Sonically though, Gill’s latest single is a woozy and brooding electronic soundscape built around glistening synth arpeggios, skittering boom-bap like beats that brings John Carpenter and Vangelis to mind.
Ryan Lee West is a critically acclaimed, London-based electronic music producer, best known as Rival Consoles. Over the course of his 15 plus-year career, the London-based electronic music producer’s work has diversified from the challenging electronic output of his early EPs to gradually become more conceptual and metamorphic: 2020’s Articulation used drawings and sketches to imagine and developed each track while 2021’s Overflow explored themes of the human and emotional consequences of life surrounded by advancing technologies, including social media — and was composed for choreographer Alex Whitley‘s contemporary dance production of the same name.
West’s consistent desire to create a more organic, humanized sound often sees the acclaimed British producer often developing early ideas on guitar or piano; forming pieces that capture and evoke a sense of songwriting behind the electronics. His eighth album, last year’s Now Is featured some of the most playful and melodic material of West’s catalog in some time, with the album’s material drawing from music, art, film, colors, shapes and even human emotions.
“The title of the record Now Is interests me because it is the beginning of a statement, but it is incomplete. I like art that is open and suggestive of ideas even if they are inspired by very specific things,” West explains. “With my previous record Overflow being very dark, heavy and almost dystopian, I wanted to escape into a different world with this music and ended up creating a record which is a lot more colorful and euphoric.”
I wrote about three singles off the album:
The Autobahn-era and Trans Europe Express-era Kraftwerk-like album title track “Now Is,” which features a a relentless motorik pulse and glistening synth arpeggios that manage to evoke prismatic bursts of color exploding before the listener’s eyes.
“World Turns,” which also features a relentless motorik pulse built from a propulsive bass lines, glistening synths and twitter and woofer rattling industrial thump paired with a gently morphing song structure that sees tempo and tone shifts throughout. The end result is soulful, thoughtful electronic music with a human soul and beating heart.
“Running,” a deceptively simple composition built around a single melodic idea — a glistening synth line that subtly morphs and bends throughout. The synth melody is paired with skittering thump and a motorik pulse that propels the song towards its conclusion — a gentle fade out. “I am very into classical music and the kind of structures and ideas they often use, and love the works which take a single melodic idea and create multiple variations from it,” West explains. “That is what I tried to do with this piece, where every single thing is a variation on the opening ten second theme. I spent over one year exploring a huge amount of variations from light to very heavy. Over much time I ended up being more inspired by the subtler, gentler variations, which allow the idea to breathe, which is a theme on this record.”
West’s latest Rival Consoles single “Coda” is the first bit of new material since the release of Now Is. The incredibly nocturnal “Coda” is built around an eerie chord progression that slowly twists, turns and morphs as it builds up tempo paired with skittering beats and a relentless motorik-like groove. The composition manages to evoke a somnambulant and woozy buzz of energy.
“’Coda’ started as a really late night experiment around a chord progression that seemed haunting but also had some strange beauty,” West says. “The whole piece is centered around this theme. I wanted to embrace the dark and quiet moments of the nighttime but also the energy of people who were maybe moving around London late at night with a nod to house music.”
Along with the release of the single, West announced his first North American tour dates in over five years. The tour includes a September 27, 2023 stop at Music Hall of Williamsburg. Check out the rest of the tour dates below.
Francesco Virgilio is a French electronic music producer and artist, best known as the creative mastermind behind m o k r o ï e, an electronic music project that specializes in a sound that features elements of electro pop, electro soul and industrial that sees him pairing music with unique imagery and video through three releases, Global System Error, Machines & Soul and Works2k21.
Released earlier this year, Virgilio’s latest m o k r o ï e single “Natural” is cinematic bit of electronic music built around layers of glistening and glitchy synths and skittering beats that brings John Carpenter soundtracks to mind.
The accompanying video by Virgilio features two characters in a post-apocalyptic world trying to escape an ongoing natural disaster, which is heading towards them. Even then they think they’ve escaped into an idyllic paradise, nature’s brutal force is inescapable.
Bruno Margiotta is a French-born, Canadian-based multi-instrumentalist, composer and creative mastermind behind the post rock instrumental project BMA. After the release of his self-produced debut EP, 2020’s Asynchronous, Margiotta world with local and international studios to produce his full-length debut, Ephemeral.
Released earlier this year, Ephemeral draws from post-rock, classical music and electronic music. Album single “Beyond The Hope” features twinkling piano, a sinuous and propulsive bass line, soaring and swelling bursts of synths, and gently padded drumming in a meditative yet cinematic composition that reminds me a bit of Collapse Under the Empire and others.
Throughout the London-based producer, composer, musician and Sekito Records head Alfa Mist’s career, he has steadfastly refused to be boxed into a specific genre or style: his work has spanned everything from hip-hop beatmaking to producing for rappers like Loyle Carner, composing neo-classical works for the London Contemporary Orchestra and reworking tracks for Ólafur Arnalds and legendary jazz label Blue Note. He also hosts the Are We Live podcast with Barney Artist and Jordan Rakei.
Since the release of his full-length debut, 2015’s Nocturne, the London-based artist and producer has also quickly established himself as one of the UK’s most focused and distinct contemporary musical voices while also working with Jordan Rakei, Tom Misch, Richard Spaven, Lester Duval and Emmavie among others.
The recently released full-length Variables finds Alfa Mist moving forward with a renewed intensity and purpose. “The whole album is more uptempo and influenced by the freedom of returning to gigs,” Alfa Mist explains. “It feels like I’m coming back to my early days of making grime beats and creating tracks that make me want to bop my head fast.”
Last month, I wrote about “Angel Eyes” featuring longtime collaborator Kaya Thomas-Dyke. “Angel Eyes” is a gorgeous bit of trip-hop-inspired neo-soul built around a finger-plucked guitar melody by Jamie Leeming, a swelling string-driven, cinematic chorus from Peggy Nolan (cello), twinkling keys from Alfa Mist paired with Thomas Dyke’s expressive, gossamer vocal. The arrangement and Thomas Dyke’s vocal express a yearning sense of hope.
“Foreword” Variables latest single is a sleek and stunning synthesis of bop era jazz and jazz fusion: cascading and twinkling Rhodes is paired with intricate drum patterns, a supple bass line, an enormous Dizzy Gillespie-meets-Birth of the Cool-era Miles Davis horn arrangement and gliding and guitar lines that showcases the buzz-worthy artist’s ability to craft arrangements that are challenging yet remarkably accessible — and are rooted in dexterous and sublime musicianship.
The accompanying visualizer by SPOD features some gorgeously animated watercolor paintings reminiscent of Van Gogh and the Dutch masters while being mindbending.
Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo. they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix EP was also released in 2021 and featured reworkings and remixes of Gas Lit material by Moor Mother, Chelsea Wolfe and Bearcat.
Last year, the duo toured across North America and Europe, opening for Low, which included a stop at Webster Hall, as well as headline dates and festival appearances.
The acclaimed Aussie duo’s fourth album, the Ruban Neilson-produced Systemic is slated for a June 30, 2023 release through Invada. Thematically, the album sees the duo exploring the systems that intrinsically bind us — and calls fora system that facilitates life for everyone. It’s a message that fits firmly with the band’s core intentions: to make music that honors their ancestors and Indigenous lands, to oppose white supremacy, and to work towards a future of Black and Indigenous liberation. “This music is an acknowledgement of the dispossession that occurs due to colonial violence,” Divide and Dissolve’s Takaiya Reed explains in press notes. “The goal of the colonial project is to separate Indigenous people from their culture, their life force, their community and their traditions. The album is in direct opposition to this.”
Recored as a duo, the album according to Reed is a continuation of Gas Lit. “Because of what was built with Gas Lit, Systemic is able to express itself.” She adds, “The album is a prayer to our ancestors. A prayer for land to be given back to Indigenous people, and for future generations to be free from this cycle of violence.”
Reed emphasizes that it’s crucial for their music to be instrumental. “I believe in the power of non-verbal communication,” she continues, “A huge percent of communication is non-verbal. We learn so much without using words.” There’s one exception on the album, the spoken word track “Kingdom of Fear,” which features writer and artist Minori Sanchiz-Fung, who contributed to previous Divide and Dissolve albums.
Systemic‘s latest single “Blood Quantum” further cements the Aussie outfit’s reputation for crafting dense, overwhelmingly heavy material. With “Blood Quantum” you hear a dissonant and insistent thumping of crashing cymbals, thunderous snare, Melvins-like guitar sludge, wavering synths and horns paired with mournful yet beautiful orchestrated passsges meant to evoke brief moments of respite. The song is rooted in — and expresses awe-inspiring beauty and heart-wrenching anguish of human existence. “The heaviness is really important,” Reed says. “It’s congruent with the message of the music, and the heaviness feels emblematic of this world’s situation.”
Fittingly, the Sepi Mashiahof, Chi Chi Castillo, and Dolor co-directed video for “Blood Quantum” is a fever dream that’s at turns hauntingly gorgeous, unsettlingly brutal and downright surreal. The video calls into question the violent process of verification of identity.
The acclaimed Aussie outfit have live shows and festival appearances planned in support of the new album,. But at this time, Nehill will be stepping back from her duties performing live with the band, due to personal reasons.
Magic Sword is a Boise-based multimedia project that tells the ageless tale of good and evil through an expansive — and ever-expanding — graphic novel, featuring The Immortals — The Keeper of the Magic Sword (red, keyboards), The Seer of All Truths (blue, guitar) and The Weaver of all Hearts and Souls (yellow, drums) — accompanied by an original synth-driven soundtrack and immersive live performances. Combining three mediums, the Boise-based outfit creates an epic experience for those who are bold enough to bear witness and come away with a deeper understanding of the ultimate hero’s journey.
Rooted in a musical and visual aesthetic that is unabashedly drawn from ’70s and ’80s fantasy and sci-fi, the project’s followers are brought to another plane of existence in which that ageless struggle between light and shadow is very real.
Magic Sword’s The Immortals give a direct account of their vision — and of the overarching story of The Magic Sword:
“In the beginning, there was light… and darkness. A creation of perfect balance. As time passed, evil spread over the land like a plague, slowly consuming everything in its path. In the final moments before light was lost to the shadow for all time, a weapon of infinite power was created, the Magic Sword. Thus, restoring balance to the universe. The genesis of things are often small. As the single seed grows to a mighty oak, so too did the path of the Keeper begin as a single choice in an age long past. Once a humble king, they were manipulated into unknowingly unleashing the Dark One.All of reality was torn asunder as the Lord of Shadow was released from their ancient prison, having been bound only by the power contained within the Magic Sword.From that day forth, the King was cursed to be the immortal Keeper of this powerful key. He has been relentlessly compelled for millennia to find the Chosen One who will one day unleash the true power of the weapon and cannot rest until the grand design is seen complete with the Darkness bound once again. Little is known of The Lord of Shadow but death and decay. Since the release from his ancient prison by the hapless Keeper of the Magic Sword, he has pulled all of existence slowly toward himself in a vortex of darkness and destruction. Any wayward soul that he touches is corrupted to their ultimate demise. He uses his followers, acolytes of death, with no more regard than any other, for his reason of being is simply to end all things. Ensuingly, the forces of good have been searching for the Light to push him back into his eternal prison. The key to operating this cell is the Magic Sword; when wielded by the Chosen One, it has the power to return balance to the Universe.
The Keeper of the Magic Sword searches endlessly for the Chosen One. With the help of the other Immortals, The Seer of All Things and The Weaver of Hearts and Minds, they are ever trying to stem the tide of the Great Shadow from engulfing all life. Through time and space itself, The Immortals are pulled by the power of the Magic Sword to those who hunger for true justice. Whenever the need is great, they appear with the Magic Sword and a high-stakes proposition for those who are pure of heart, perpetually hoping that their search is finally over. This prophesied being contains the ability to wield the power of the Magic Sword and seal the prison that holds Dark One for all eternity. Only then will The Keeper, The Seer, and The Weaver be able to rest. Until the chosen one is revealed, the search continues in this realm and many others throughout all of time and space. In what form will the MagicSword manifest? Who is the Chosen One? Will it be you? Answers will reveal themselves as the need arises. A tale of high adventure as old as time itself.”
In the installment in the expansive Magic Sword universe, The Keeper embarks on a righteous quest to navigate a corrupt world where the sword has been abducted by an unfathomably foul evil. Amid the conflict, he seeks to find himself and reclaim what is rightfully his “Badlands.” Originally composed as the soundtrack to a feature film and conceived as a sort-of solo album for Magic Sword’s The Keeper, Badlands, which was surprised released through Joyful Noise Recordings tells the story of loss and rediscovery of the one’s self while being a departure from the band’s trademark synthwave sound. Instead, Badlands is lovingly indebted to John Carpenter and Ludwig Emil Tomas Göransson.
Badlands‘ latest single, the cinematic and slow-burning ‘The Ending” is built around layers of glistening, retro-futuristic synth arpeggios paired with propulsive four-on-the-floor and a relentless groove. The composition manages to set a dramatic vibe and setting for its protagonist, The Keeper: I can picture The Keeper finally encountering his antagonist — and having an epic battle in a Dali-esque landscape.
Bristol-based jazz fusion trio King Heron — Jacob Houghton (guitar), Cerith Evans (guitar) and Cameron Macdougall (drums) — features three different and distinct musical personalties, who through a modern jazz sensibility and a focus on tight grooves, mesh disparate influences into a unique, difficult to pigeonhole style.
The rising Bristol trio’s first single “Stasis” is the first bit of new material since the release of Troika EP — and it also marks the first in a series of singles that the band plans to release this year. Featuring a guest appearance from Andrew Neil Hayes on sax, “Stasis” is rooted in the trio’s penchant for a trippy and insistent grooves paired Hayes’ soulful horn solo in a composition that seems to draw from funk, dub and jazz fusion in a seamless fashion. While displaying the musicians dexterous musicianship, the composition also manages to display the their instinctual ability to know when to lead, when to follow and when to make space.
“It was a real honour to record with Andrew — he’s a bit of a Bristol legend and someone that I’ve looked up to for a long time,” King Heron’s Jacob Houghton says. “He came in and blew our heads off. Playing with someone of his calibre made everyone raise their game, and created a special energy in the room.”
The accompanying video captures the Bristol-based trio and Hayes in the studio performing the song. And it captures the instant simpatico held by each of the musicians in the room.
Led by Max Ramey (production, bass) and Joe Ramey (production, saxophone), and featuring members of Monophonics, as well as a collection of some of the best Bay Area-based players, The Ironsides specialize in a sound that meshes classic psych soul with sweeping orchestral arrangements in a way that recalls the soundtracks and library music of European composers during the ’60s and ’70s.
The Bay Area collective set out to create a collection of lush compositions that evoke a diverse arrange of feelings, emotions and memories. The band enlisted Louis Robert King, a New York-based maestro as a co-writer and arranger. King had previously created arrangements for Ramey on other projects. Once the material was finished, the Ramey Brothers started contacting a collection of local musicians, who would bring the material to life. “We hired a group of Bay Area working musicians,” Max Ramey explained. “Many of them play a range of music, from jazz to classical, in clubs and orchestras. Using these local musicians was really important to us.”
Slated for a May 19, 2023 release through Colemine Records,Changing Light was recorded at Transistor Sound Studios, the home base for The Ironsides, a growing list of Colemine Records artists, including Kelly Finnigan and Monophonics. While California is a major inspiration for the album’s material, it wasn’t the only geographical inspiration for the album: The Ramey Brothers can trace their heritage to Liguria, Italy — the birthplace of their maternal grandfather. Album track “Ligurian Dream” pays homage to their Italian heritage and the composers, who inspired the cinematic and instrumental direction of the album’s material.
Changing Light‘s material evokes the imagery of an open road, a breathtaking view and scenes of a vast landscape begging to be explored. So plug something into your GPS, play the album and just drive. “The songs are inspired by landscapes – each one could mean something to someone and create a completely different meaning for someone else,” The Ironsides Max Ramey says.
The album’s first single “The Web” is a soulful, lush and incredibly cinematic composition rooted in old-school craftsmanship featuring shimmering and soaring strings, a supple and propulsive rhythm section, a punchy horn section and a buzzing horn solo. Sonically recalling a slick and seamless synthesis of Issac Hayes‘ Hot Buttered Soul and Spaghetti Western soundtrack scores, “The Web” is the perfect mood-setting song for a road-trip playlist.
