Jordan Reyes - Close - VINYL LP

I envisioned the record as a journey through human expression over the course of one day, says Chicago composer and ONO member Jordan Reyes. When planning the album, Reyes wanted to consider the trajectory of American music, drawing a throughline from the oral traditions enmeshed in blues, country, folk to contemporary underground music, splicing together acoustic instrumentation with an experimental, electronic sensibility. The album begins with human-constructed wind on opening song InchThe Pre-Dawn Light.Inch. From there, Reyes adds acoustic guitar, electric guitar, lap-steel guitar, trombone, keyboards, and an electronic drum to the compositional mix.InchI wanted to push myself compositionally,Inch he says. InchMy first album Close was all eurorack synthesizer, a lot of which was automated by control voltage, but Sand Like Stardust has no modular synthesizers, seeking to channel the warmth, immediacy, and vulnerability of hand-played instruments and voice.Inch1. The Pre-Dawn Light 2. Drifter 3. High Noon 4. Dusted 5. An Unkindness 6. A Hard Ride 7. A Grain Of Sand 8. Rebirth At Dusk 9. As The Sun Dips

Track listings include InchYou Win Again,Inch InchWild One,Inch InchGreat Balls of Fire,Inch InchCrazy Arms,Inch InchBreathles s,Inch InchBig Legged Woman,Inch InchLovin Up a Storm.Inch Album Tracks 1. Whole Lotta Shakin' Goin' on 2. Great Balls of Fire 3. Breathless 4. You Win Again 5. Crazy Arms 6. High School Confidential 7. It'll Be Me 8. Big Legged Woman 9. Real Wild Child (Wild One) 10. Milkshake Mademoiselle 11. Keep Your Hands Off It (Birthday Cake) 12. Lovin' Up a Storm

The Fairchild OST and Border Land EP are works that Chicago-based Jordan Reyes conceived as two distinct projects, however, as they were written and conceived it was clear they were cut from the same kind of spiritual cloth. Faichild OST - a soundtrack commissioned for the short film by Kali Kahn - and Borderland are filled with the same kind of patient, unfolding modular synthesizer work that Reyes debuted on his 2019 album Close. According to Reyes InchSpacelessness is the central theme on Border Land, three pieces I recorded while in motel rooms on my January 2019 jaunt out to the East Coast. Motel rooms and highways are sacred spaces for me - touring alone is exhausting and transcendental. Hurtling down highways, you watch the landscape change, but are removed from it. Your environs is a purchased ecosystem. Motel rooms blend together. Even in new cities, you've inhabited that room. When you exist in these intermediary, interchangeable spaces, it can be disorienting and psychedelic, especially after long days of driving and playing shows - at the precipice, things slip, reality shifts, the unseen is more easily felt. I tried to channel that feeling while recording Border Land, feeling outside, and considering how it feels to step out or step in, deciding whether something has just finished (InchAll Things EndInch) or something is about to begin (InchTouching DownInch).