Another improv album from Safehouse Brighton – I’m on tracks 1, 17 & 19. This is the fifth in a series of remote collaborations started over lockdown (am on every one except the first), so I’ll skip the blurb; enough to say it’s a big listen and a deep dive into freeform sound adventure. It’s also possibly the lightest, most accessible volume so far; who knows what’ll happen when we reach the end of the alphabet…
That’s one extreme, so here’s the reverse – from the Rossi Bar gig in November showing the other end of what I do:
1) MF – 2) La Pequena Em – 3) Austerity – 4) Austerity/Gulls (photos by Jimmy Guest)
It’s been a blast, somewhat against expectation given how bleak things looked in January – hope to do a lot more next year, and that everyone’s 2022 is utterly fucking fab.
Stencil issue 54
Stencil Magazine reviews Vanishing Island here (p. 153) …”for those looking for something that’s outside of the box and scratches many levels of atmosphere”. Ambivalent but interested – my favourite kind of review, quite often (as it implies a genuine effort to engage).
Plugged in Brighton gave the single, Perilous Seat, its first write-up in their 13th issue: “pop through a prism […] It’s almost a waltz, not quite a sea shanty but certainly quality, adult pop”. Wonder what they’ll make of the album? (That’s by far the most accessible, song-shaped track on there, as you’d expect. Even scored some airplay on Kerrang Radio.) We’ll find out…
Otherwise, doing another free improv Safehouse gig as part of the Wildcard Quartet, on 24 April at The Verdict. Comfort zone? I have none.
More band gigs coming up too – news on them as & when.
EDIT: Another review came in just after this post, from Whisperin & Hollerin. It’s very generous indeed – “tidy hooks and imaginatively-crafted moments of atmosphere and even pangs of emotional depth“, among other things. Always cool when someone sees what I was aiming at. Read it here.