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For this rare solo audio release, multi-disciplinary artist Phoebe Collings-James lays out, overlaps and tangles a curious and often contradictory selection of material over a bed of slowly tumbling electronics. Like picking up someone's phone and briefly eavesdropping on their photos, diary notes, recordings & what they've been watching or listening to ‘Can You Move Towards Yourself Without Flinching?' renders an aural tapestry with a bracing question . Like her compelling collaborative work 'Sound as Weapon, Sounds 4 Survival' with SERAFINE1369, Phoebe's placement and arrangement of audio is masterful in its sleight of hand, inviting numerous interpretations, without losing its ability to beguile. -- In a diary entry for 2019 I found this question which I struggle to answer. I creep toward it, in a wish to catch a glimpse of myself - without hesitation. If I do catch it, to find an unbearable balm, a suckling connection of love without dread - what would I hear? I invited friends to answer the question with their own sounds. They did so in myriad ways, all of which were woven into the piece. For my production i work in a collaging style, using sound libraries, adhoc recordings from my daily journeys, alongside live recording with musicians and poets. When sharing the track this week, I encouraged it to be listened to while laying down, comfortable. Ideally on good speakers or headphones. Allowing the scene to unfold into the space like an elaborate, sonic pop-up book. -- Phoebe Collings-James - music, arrangement & cover artwork -- Contributors (& Cameos): Ain Bailey, percussion. Rox Devlin Horton, drums. Sandeep Salter, song. Serefina 1369, lyrics. Zezi Ifore, lyrics. Secrets & Lies. Beau. Lancaut echo. Naeem Dxvis. Mario. Lynette Nylander. Adam Bainbridge.

Phoebe Collings-James – Can You Move Towards Yourself Without Flinching?

The is a pre-order. Releases 6th November. Pat Thomas is one of the most extraordinary pianists of our time. In a first time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert’s poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts’ ecstatic vocalisations.  The trio of improvised pieces which make up the record’s first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and colour for Robert’s song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings.    The second side, a whole part in itself, goes deeper - hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity.  The record arrives housed in a screen printed Kraftboard sleeve, die cut to reveal photographs taken by Dawid Laskowski and Fabio Luguro. Mastered by Giuessepe Ielesi who also mastered Pat Thomas’ The Elephant Clock of Al Jazari, we pressed this on 180g black vinyl. You can’t press a work called ‘The Truth’ on much less, can you? --- Pat Thomas / piano Matana Roberts / saxophone --- Recorded by James Dunn live at Cafe OTO on the 8th December 2018. Mixed by James Dunn and mastered by Guiseppe Ielasi. Photographs by Dawid Laskowski and Fabio Lugaro. Design and layout by Maja Larrson. 

The Truth – Matana Roberts & Pat Thomas

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