Beautiful independent progressive music, with emphasis on chords and melody.
Sometimes melancholy, other times joyful, 'Places Unseen' is a bit darker, and much more instrumental than previous Cirrus Bay releases. Rooted in old-school progressive rock, with influences of Tony Banks, Renaissance, Camel, Hatfield & The North, Anthony Phillips and Bo Hansson, 'Places Unseen' features the gorgeous vocals of newcomer Tai Shan and the lovely cover art of Lee Gaskins.
Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes!
US outfit CIRRUS BAY started out as an acoustic duo back in 2001, consisting of Bill Gillham on guitar and Sharra Gallham (now Sharra Acle) on vocals. They performed Bill's compositions live in coffee and sandwich shops, acoustic efforts with sophisticated compositional structures underneath a melodic palette catering to a more mainstream-oriented musical taste.The duo were, at some point in time, approached by Mark Blasco. He's a drummer and engineer, and besides being fascinated by the duo's musical ventures he also wanted to know if they would like to record their music, offering his services as a drummer if so would be the case.
On his 2013 release The North Borders, British producer Simon Green (aka Bonobo) continues along the organic-meets-electronic path that his 2010 release Black Sands followed, but this walk takes place as it's turning to dusk, and there are varying degrees of mist and chilliness along the way. Opener "First Fires" with Grey Reverend (singer/songwriter L.D. Brown) sounds like it could be quite warm, but it's entirely autumn-minded sweater music that wistfully wonders what to do with "faded dreams" as Green allows bits of glitchy sunlight to shine through his cloudy synth construction. "Emkay" is the clangs and echoes of a seaside port at night that wonderfully shuffles its way up to a lighthouse tune, then there's majestic songstress Erykah Badu wonderfully vibing ("We don't need no truth/Got plenty/Now it grows on trees") on "Heaven for the Sinner" over Bonobo's deep version of the broken beat. "Towers" suggests sleepy urban buildings in twilight with a vibraphone representing the little bits of life and light that will sparkle through the night, while "Don't Wait" is just before the dawn, as innocent chimes chase away the eerie things that lurk in the darkness.