Lammping - RISKY - VINYL LP
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Toronto's shape-shifting psych project LAMMPING continues it's ambitious four-album series with the upcoming LP - a rich, immersive collaboration between Drew Smith (Dr. Ew, The Bicycles) and Chris Cummings (Marker Starling). The record follows Never Never, Lammping's acclaimed joint effort with Bloodshot Bill, and finds producer Mikhail Galkin (a.k.a. DJ Alibi) and drummer Jay Anderson exploring a different corner of the project's expanding sonic universe.Where Never Never mashed up boom-bap beats and rockabilly psych, the new album drifts into deeper, more melodic territory - InchCSNY harmonies over early-'90s hip-hop drums, fuzzed-out guitars, and synth textures,Inch as Galkin describes it. The result feels both strange and familiar a warm, analog dream slowly unraveling in real time. InchIt started out as a pretty, almost yacht rock record,Inch says Galkin. InchBut the more we recorded, the darker and heavier it got - it's like a heavy-psyched out yacht rock album, if the yacht was sinking the whole time.InchThe album's influences reach far beyond rock and hip-hop, pulling inspiration from '60s and '70s vocal jazz (Ahmad Jamal's The Bright, The Blue and the Beautiful, Duke Pearson's How Insensitive) and psychedelic pop (Spanky and Our Gang). The result is something Chris Cummings calls Incha pocket universe of it's own - emotional but focused, like a dream sequence that knows exactly where it's going.InchAs with Never Never, the record also features interlude-style instrumental remixes that thread the album together, blurring the line between studio experiment and concept piece. It's a testament to Lammping's evolution from psych-rock origins to full-blown production duo - where genre lines dissolve and everything, somehow, still sounds like Lammping.
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- GenreRockDescriptionToronto's shape-shifting psych project LAMMPING continues it's ambitious four-album series with the upcoming LP - a rich, immersive collaboration between Drew Smith (Dr. Ew, The Bicycles) and Chris Cummings (Marker Starling). The record follows Never Never, Lammping's acclaimed joint effort with Bloodshot Bill, and finds producer Mikhail Galkin (a.k.a. DJ Alibi) and drummer Jay Anderson exploring a different corner of the project's expanding sonic universe.Where Never Never mashed up boom-bap beats and rockabilly psych, the new album drifts into deeper, more melodic territory - InchCSNY harmonies over early-'90s hip-hop drums, fuzzed-out guitars, and synth textures,Inch as Galkin describes it. The result feels both strange and familiar a warm, analog dream slowly unraveling in real time. InchIt started out as a pretty, almost yacht rock record,Inch says Galkin. InchBut the more we recorded, the darker and heavier it got - it's like a heavy-psyched out yacht rock album, if the yacht was sinking the whole time.InchThe album's influences reach far beyond rock and hip-hop, pulling inspiration from '60s and '70s vocal jazz (Ahmad Jamal's The Bright, The Blue and the Beautiful, Duke Pearson's How Insensitive) and psychedelic pop (Spanky and Our Gang). The result is something Chris Cummings calls Incha pocket universe of it's own - emotional but focused, like a dream sequence that knows exactly where it's going.InchAs with Never Never, the record also features interlude-style instrumental remixes that thread the album together, blurring the line between studio experiment and concept piece. It's a testament to Lammping's evolution from psych-rock origins to full-blown production duo - where genre lines dissolve and everything, somehow, still sounds like Lammping.ArtistLammpingTitleRISKYFormatVINYLLabelWe Are Busy Bodies
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Toronto's shape-shifting psych project LAMMPING continues it's ambitious four-album series with the upcoming LP - a rich, immersive collaboration between Drew Smith (Dr. Ew, The Bicycles) and Chris Cummings (Marker Starling). The record follows Never Never, Lammping's acclaimed joint effort with Bloodshot Bill, and finds producer Mikhail Galkin (a.k.a. DJ Alibi) and drummer Jay Anderson exploring a different corner of the project's expanding sonic universe.Where Never Never mashed up boom-bap beats and rockabilly psych, the new album drifts into deeper, more melodic territory - InchCSNY harmonies over early-'90s hip-hop drums, fuzzed-out guitars, and synth textures,Inch as Galkin describes it. The result feels both strange and familiar a warm, analog dream slowly unraveling in real time. InchIt started out as a pretty, almost yacht rock record,Inch says Galkin. InchBut the more we recorded, the darker and heavier it got - it's like a heavy-psyched out yacht rock album, if the yacht was sinking the whole time.InchThe album's influences reach far beyond rock and hip-hop, pulling inspiration from '60s and '70s vocal jazz (Ahmad Jamal's The Bright, The Blue and the Beautiful, Duke Pearson's How Insensitive) and psychedelic pop (Spanky and Our Gang). The result is something Chris Cummings calls Incha pocket universe of it's own - emotional but focused, like a dream sequence that knows exactly where it's going.InchAs with Never Never, the record also features interlude-style instrumental remixes that thread the album together, blurring the line between studio experiment and concept piece. It's a testament to Lammping's evolution from psych-rock origins to full-blown production duo - where genre lines dissolve and everything, somehow, still sounds like Lammping.
Stars We Lost is the latest instalment in Lammping's sonic experimentation, further pushing the boundaries of modern psychedelia.Starting with their last album InchFlashjacksInch, Mikhail and Jay began incorporating samples into their heavy, riff-based sound, as well as adding drum machines, vintage keyboards, and various production influences, from Lee Scratch Perry to Madlib. From the Fender Rhodes-soaked, fuzzed-out Everlasting Moor, to a Polish vocal sample serving as the backbone to '21 Interlude, the record takes unexpected chances in charting a new path in guitar-based music.While the stylistic changes are evident, well-crafted songs have remained the band's focus. A sonic fevered dream, the EP weaves different themes together, oscillating between joy and dread, memory and the future, and the surface vs. The underbelly of modern urban living. JJ Koscan of the Obelisk writes InchThis S**t is killer and deserves all the ears it can get with it's early '90s weirdness that's somehow also from the late '60s and still the future too because what is time anyway and screw it we're all lost let's ride.Inch1. Everlasting Moor2. Never Phoenix3. Home of Shadows4. '21 Interlude5. Beyond The Veil6. Golem of Garbage Hill (digital only)
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The centerpiece of violinist Movses Pogossian's InchHommage à KurtágInch is his recording of Kurtág's InchSigns, Games, and MessagesInch for violin (there are others in the series for different instruments). Pogossian has developed a close working relationship with Kurtág, and his interpretations reflect his reverent stance towards the eminent composer as well as the input received from him. Echoing the importance of the concept of homage within InchSigns, Games, and MessagesInch, Pogossian commissioned several composers to write works in honor of Kurtág - Aida Shirazi, Gabriela Lena Frank, Kay Rhie, and Jungyoon Wie contribute new works to the project, alongside InchMelodiaInch from Bartók's Sonata for Solo Violin, providing repertoire context.
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