The aptly named "Perfectly Unhappy" features eight new songs written with this collaboration in mind. These are enchanting and lyrical tunes, often melancholic and uplifting at the same time and will surely speak to followers of both the trio and Sheppard and attract many new ones.
"I knew from the first time I heard the trio play that I would fit right in. I loved the melodic sense and vibe and was thrilled when I was invited to guest with the trio in London in 2016. Since then we've had a chance to grow the music with tours in Korea and Norway, before Espen wrote a set of fantastic tunes for the recording session in Oslo. They played themselves and we had a ball recording, everything clicked and in two days we had made a very special album". Andy Sheppard Espen Eriksen Trio was formed in 2007 and released their first album in 2010.
4Since then they have released two more records on Rune Grammofon, and toured in 16 countries across four continents. The music relies on highly melodic and lyrical instrumentals and a “less is more” approach and is often credited for its unique voice within today’s jazz scene by the international press. To quote BBC in their review of the trio’s second album; “A wonderfully plaintive jazz record, abandoned to the lost art of melodic minimalism, stripped back and beautifully near bare. No smoke and mirrors, just the graceful chemistry of superb musicians at the top of their game”
With a career spanning over four decades, working together with the likes of George Russell and Gil Evans, Andy Sheppard is truly one of Europe’s leading saxophonists. Lately, his main focus has been with his own quartet and the trio with living legends Carla Bley and Steve Swallow, both acts recording for ECM. Eriksen´s background is ranging from jazz to pop music and the church organ, while Jenset lived and worked as a musician in Copenhagen for seven years before relocating to Norway. Andreas Bye is one of Norway´s most requested drummers in jazz and pop."
Sleazy psyche grind escaped from Green Door Studios’ exit/entrance to hell. RIYL DIV, Goldfrapp, Optimo Music
“Another fierce and unique act from the depths of the Glasgow underground appear on Optimo Music with their debut Green Door studios recorded four track EP.
Keyboard player Jim McKinven was previously in Altered Images, worked for many years in Martin Rushent's Genetic Studios, was in One Dove and previously appeared on Optimo Music as one half of Organs Of Love. He is however but one component of this transgenerational band.
They describe their music far better than we could - "Seedy Electronica, consisting of 2 Basses, Electronic Drums, Synths and Dark Vocals. Inspired by the avant-garde that influenced the electronic music scene of the late '70's and early '80's.”
V-Sor, X’s outstanding post-punk/cold-wave bullet Authors 2 bubbles back up on Peripheral Minimal.
Hailing from Lichfield in the English midlands, Morgan Bryan formed V-Sor, X in 1979. The classically skinny and drily emotive Authors 2  was his first single, and despite being admonished as lacking emotion and musicianship at the time, it clearly held its own with enough folks to be trading for over £100 on the 2nd hand market nowadays.
Thankfully that “something” isn’t just its rarity (there were only 300 copies of the original), as the A-side delivers a virulent blend of spiky arps and almost operatic, horror-film inspired gothic vox in Authors 2, whilst the B-side makes haunting turns towards what would become known as neo-folk with Station, and an unmissable mix of fluttering synths and cathartic vocals in Back Room Commentator that clearly reunite with fellow Midlanders Eyeless In Gaza.
Tillmans’ expressive, slightly Dada-ist vocal + synth work Source comes remixed as a fluffy, minimal tech house cut by Roman Flügel, in a way reminding of Wolfgang Voigt’s Profan gear, whilst the 909 Mix strips Tillmans down to gasps, chuckles and scats on haughtier house groove struck up with piano chords.
NYC’s Dasychira unmistakably apes Arca and Lotic in the best way on Haptics, the follow-up to his Immolation EP.
Featuring guest turns from Haleek Maul, Malibu, and Embaci, it’s one the most upfront and definitively contemporary releases on FaltyDL’s Blueberry Records, vacillating expressively detailed instrumental highlights such as the dembow-bumping weightless concerns of Swing with impressively theatrical vocal works such as Umbreon, feat. Malibu.
Chloe Freida’s Alien Jams compile 7 cuts from rkss, Rescund, Ondness and more cuts, each reflecting on the nature and effect of unease and anxiety, all mastered by Rupert Clervaux.
The most interesting responses to the theme come in the spiralling waves of distorted data from rkss on FX 128 F / CLAP 128 F / LEAD 2 F 128 / CLAP 128 F / FX 128 F, which seems to emulate the onset and onslaught of a panic attack, and also from multidisciplinary artist Clifford Sage a.k.a. Recsund, who follows the Intellectual Reject sets for Quantum Natives with an incisive, needling ambient techno work Sinetic that emulates the effect of feeling simultaneously lush but highly strung.
James Blake’s live drummer Ben Assiter a.k.a. Mr. Assister turns his hand to a pair of grittily fluid, dubbed-out slow rollers for his BEAM label.
Up top he spins out the swingeing slosh of Mambala, with focus on its interlocking wooden drums while the synthlines tug at the edges, precipitating a viscous bassline and more humid atmospheres as the cut move deeper into the overgrowth.
Down below, Bebny sounds like it just wandered, dazed and stumbling, from a Danielle Baldelli set c. ’81, with a more prominent acidic bassline synched to glancing drums and druggy synth sighs in a cosmic style.
Hot on the heels of Joker’s return, Bristol’s purple sound OG, Guido steps up with his first release since 2013
Dispatching the sharply contoured and colourful grime instrumental Onward and the wonky but regulated triplets of Blazing Trails via his State Of Joy label.
DJ Qu induces fancy footwork with a percolated, infectiously percussive rework of Willie Graff & Tuccillo’s To The Music, which eventually turns into a Moodymann-like party freak, and comes backed with Qu’s original, grinding bleep techno ace Figure 6 for the red-lit basement jackers.
Theo and pals stretch out at jazzy angles on Gentrified Love, Pt.4
Bubbling uptempo with the burning hustle of Leave The Funk To Us feat. Amp Fiddler & Ideeyah on a P-Funk house flex, whereas Be Like Me hits the downstroke on a well-tucked boogie jazz turn starring Paul Randolph and Kathy Kosins.
“Singularity marks the fifth album from the UK electronic producer and composer and the follow up to 2013’s Mercury Prize nominated Immunity.
Where Immunity charted the dark alternative reality of an epic night out, Singularity explores the dissonance between dystopian urbanity and the green forest. It is a journey that returns to where it began – from the opening note of foreboding to the final sound of acceptance. Shaped by his experiences with meditation and trance states, the album flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient”
Mumdance furnishes Dawn Richard with an exclusive production on Guardian Angel
Sending her diva sing-a-long soaring with martial grime snares gnashing at Not Waving’s guitar lines and weightless orchestral sweeps supplied by Demon Strings. It’s quite the head-turner.
Darker-toned slow/fast rufige from Om Unit’s Cosmic Bridge
Landing two canny cuts with the cinematic melancholy and mid-way switch of his dBridge-alike Ryoan-Ji, and the Instra:mental styles of Totem.
Robustly functional techno trax from the master Robert Hood
Toying with drag coefficients in the tense, swarming dynamics of Clocks, then rolling out on a signature organ mission with Low Life, and shaking it up some with the latinate bleep minimalism of Go. A mean lot for the DJs and dancers!