SML
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Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
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Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
Sedimentary Orange coloured vinyl
Out of Stock
Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
West Coast jazz quintet SML's debut album is a heady, psychedelic study of raw grooves that takes its frenetic pulse from a diverse array of influences - everyone from Miles Davis, Herbie Hancock and Fela Kuti to Pole, Susumu Yokota and Can.
Made up of bassist Anna Butterss, synth player Jeremiah Chiu, saxophonist Josh Johnson, drummer Booker Stardrum and guitarist Gregory Uhlmann, SML are talented musicians in their own right, but the improvisations on show here are far greater than the sum of their parts. The album was recorded over a series of Los Angeles sessions, but they're far from raw - like Miles Davis's 'On the Corner', it's been chopped, edited, re-arranged and fleshed out with additional production to extend the possibilities of the live band setup.
On opener 'Rubber Tree Dance' this process is immediately evident; the traces of instrumentation are still there, but poke through a fog of woozy dub effects, electronic percussion and cycling synthetic pops. Johnson's horn is transformed into a celestial Hassell-style whine that winds around Chiu's warbling pads and Uhlmann's rhythmic post-funk slaps - it's everything at once, from kosmische to lurching acid house, and SML rein in their ambitions, never overwhelming the track with too much chaos to comprehend. The 'On the Corner' influence is more evident on the funk-forward 'Search Bar Hi Hat', but SML shine when they're working with more illusory instrumentation, like on the polyrhythmic 'Window Sill Song' that sounds like a fourth world gamelan orchestra on a To Rococo Rot tip, or the dusty 'Soft Sand' that's library music played through a broken guitar amp.
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