Patty Waters
You Loved Me

Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra

SSCAS3 - US - 2017

When the sun hovers near the horizon, the rays of white sunlight are scattered out of the beam by small particles and molecules in the atmosphere that sprinkle the sky with brilliant hues indicating that the day starts to fade. As night begins to fall, tree-tops redden and begin to glow. Darkness closes in and falls like a blanket covering the sky. It is late again and all is in shadow below. It is when stars align and dreams come true.Sven Wunder thrives at nightfall and welcomes the horizon of beginnings on Late Again, a collection of nocturnal jazz pieces that depict shooting stars and scattered beams from the setting sun, with an emphasis on gentle compositions for piano and orchestral pop-jazz arrangements for flute, brass, and strings.

Recorded over a four-week period in early 2022, Freedom Lapse is the debut solo release of Australian multi-instrumentalist and composer Adam Halliwell. A versatile improviser and lover of performance, Halliwell has been an active contributor to numerous musical communities in recent years. The release of Freedom Lapse marks an exciting stage in Halliwell’s journey as an artist with the culmination of several important musical facets that are now becoming foundational to his practice.As Halliwell tells us, Freedom Lapse owes its genesis to an epiphanic moment experienced whilst traversing a mountainous passage in Mexico, a place where ‘the past present and future stretch out in one place’. Entranced by this environment, its colours, the villages and local life, Halliwell listened to music that inspires him (he cites Jon Hassell here). The result: ‘complete aural, visual and spiritual completeness’, a moment of discovery, he explains. Shortly after, the material that now comprises Freedom Lapse was recorded, distilling this powerful sensorial experience into a body of music that he has now invited the world to share with him.

Kwiatostan by Błoto≤br≥The streets of Warsaw in the first half of 2020 smelled of rain, disinfectant and electrical tension, caused by storms that broke out repeatedly. The black door of the elevator leading to the newly opening Jassmine club was reflected in the puddles. The faces of people passing by were covered with masks, and in street noise, one could hear the soft pulse of bass coming from somewhere below the ground... Two floors below, four musicians known from the EABS group met for the first time since the global pandemic began.Based on the collective improvisation, they recorded their new material for three days. Despite their previous success, the team did not try to recreate proven patents from ‘Erozje’, but rather treated them as a starting point. We can still hear the influence of the golden era’s hip-hop, but this time the inspiration goes deeper to the connotations with club music (house, juke), and everything, as usual, is based on jazz music. Anthony Mills' unexpected cameo in his rap incarnation as Toni Sauna completes the album entitled ‘Kwiatostan’.It cannot be ignored that the entire globe at the beginning of the 21st century stinks of smog, tear gas used to break up protests, and the sour sweat of politicians. The earth is eroding not only due to water, wind, sun or gravity, but mainly as a result of human activity. The Błoto quartet communicated these problems on their first album. It turned out that we operate in a world in which the cover of ‘Erosion' quickly turned out to be prophetic. Inflorescence grows on the ruins of a world devastated by erosion - a new system of branching shoots ending with flowers. In 2020, most of the petals, pistils and stamens are surprisingly pale as they are constantly suppressed by the system in which they thrive, preventing flowers their lush colours and right to diversity. Just like police states that keep an eye on society. ‘System’ is a keyword around which Błoto’s second album revolves.