CV & JAB
Κλίμα (Klima)
Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
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Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
Boomkat Exclusive edition of 200 copies pressed on turquoise vinyl. Artwork by Zin Taylor, mastered by Stephan Mathieu
Estimated Release Date: 06 October 2023
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
Black vinyl edition of 300 copies
Estimated Release Date: 06 October 2023
Please note that shipping dates for pre-orders are estimated and are subject to change
Boomkat Product Review:
Christina Vantzou and John Also Bennett's third album is a delicate, glacial marvel that roots itself in Tenerife's expansive landscape, using piano sequences, environmental recordings, woodwind, snipped voices and peculiar electronic sounds to evoke a sensual, humid mood. RIYL Harold Budd's epochal 'Avalon Sutra', Duvall Timothy, Félicia Atkinson, Jim O'Rourke, or Laurel Halo's 'Atlas' stunner.
It's CV & JAB's signature soft-focus piano motifs that slowly draw us into 'κλίμα' (klíma, or climate in English), fluttering like birds across the horizon, unadorned by effects. The album's most direct track, the eponymous intro lets us into Bennett and Vantzou's emotional soundworld before their palette is fully revealed. They broaden things significantly on 'Dwelling', folding in wavering bass flutes and flattening their piano into a fuzzy, Budd-like haze. The duo wrote the album over the course of two years while they traveled across Tenerife, charmed by the volcanic island's vastly different microclimates. They imagined 'κλίμα' as an abstract audio guide to their exploration, paying attention to their own palpable sense of awe, as well as the inspiring landscape around them.
At this stage in their collaborative career, Vanztou and Bennett almost feel like a singular unit; it's not completely clear what each of them is doing, but their combined efforts are fully coherent, a deftly economical, gestural melange of electro-acoustic processes and spirited, humanistic performance. 'Lands of Permanent Mist' sounds like a half-remembered dream, with piano flourishes ping-ponging into curious synth tones and garbled bass rumbles. It might be the sound of sand blowing across a colossal plain, or dewdrops forming on mountain grass; it hardly matters, the landscape keeps morphing and fractalising regardless. 'Jetstream' disperses spoken phrases with chattering FX before upper-register piano notes carve into the noise and oscillating synths echo in the distance like sirens, as hallucinogenic crystals mushroom over faint birdsong.
As the album drifts forwards, Vantzou and Bennett usher us into progressively more disquieting spaces, dreaming a fairytale of flute sounds and warm, washing waves on 'Fields of Aloe Vera' and a gurgling mess of alien sonics and burning embers on the surreal 'El Muelle'. 'Take the Hot Route' meanwhile is arid and mysterious, rising over squeaking rubber footsteps and industrial gasps that give way to near-silent whispers. The duo's final track brings their entire ecosystem together, reintroducing the murmuring piano that introduced the album and blanketing it in whimsical woodwind and shallow breaths. It's an immaculate conclusion that emphasises the record's narrative depth and cyclical nature - all that's left to do is go back to the beginning again and bask in its soothing light.
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