LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.
View more
LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.
LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.
LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.
Out of Stock
LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.
Out of Stock
LA jazz musician, Sam Gendel supplies enchanting musical parts to a new project with Marcella Cytrynowicz, resembling a sort of woodcut 4th world ambient jazz-fusion soundtrack to an alien kiddy’s animation
Primarily known for his sax tekkerz, as on a string of sides for Leaving Records, Sam Gendel’s music over the past five or so years has been defined by a loosely playfully rhythmic and colourful mastery of melodic thought and richly layered harmonies. With ‘Audiobook’ he smudges the focus to leave everything heard thru an occluded lens or ear muffled by wool. If you’re a hi-def type, it’s not for you, but if you appreciate textural lo-fi impressionism, you'll be in your element.
In sync with Marcella Cytrynowicz’s corresponding, multihued illustrations, Gendel’s tesselalions of unusual chords and shapeshifting, blocky rhythms feels as though applied by hand with felt tips. It’s an absorbing exercise in world building that steps right off from Jon Hassell zones into integers of exotica lounge jazz and the retro-futurist nostalgia of kid’s TV soundtracks, even hitting a sort of 8-bit Éthiopiques sound on ‘UV’, or like early FlyLo joint unearthed from a muddy playpen on ‘CD’, with intoxicatingly groggy, suspended chords on ‘GH’ and ‘KL’ to name but a few highlights.