Got It All Wrong

First song written produced and recorded by Jeffrey Lasky in Twenty years.  Jeffrey Lasky all guitars.  Cover art and concept by Joshua Lasky

September Twenty-Fifth

credits: Annie Higgins (wurlitzer, vocals) Jason Toth (drums), Tim Leopold (trumpet, flugel, horn arrangement) Casey Foubert (bass)

Artwork/image by Matthias Jung

Lyrics: 

The plane you came in on landed late
Toulouse and views of sheep
Your presence fills landscapes
Your presence fills

He came upon a note you wrote
It took my breath away
The morning sang a lonely note
It played throughout the day 
It played throughout the…

You gave us more than we had
Your love was always strong
It’s time to hold your hand
Your light was always on
Don’t say my love grew tired
Don’t tell me I gave up
I’ll see you in my dreams, in my second sleep

Nights illuminate 
Words I didn’t say

© Annie Higgins

amhigginsannie [at] gmail

Second Sleep

There are no words to describe what happened in Paris on November 13, 2015. This song (translated "Spirits" in English) was birthed to honor the beautiful people of Paris.

Written with my friends Chris Coleman (cello) and Timbre Cierpke (voice)

Photo taken in Le Marais, Paris - Art Direction by Luke Atencio

Licensing can be acquired through my representation at Music Bed: https://www.musicbed.com/artists/tony-anderson/7054 

iTunes

Spiriteaux

Recorded, mixed and produced by Vincent Stockholm and Jezz Acid.
Mastered by Thomas Athome mastering. 
Release date : Dec 2 nd
First song from the Forthcoming album "What the wood whispers to itself" (due to release in 2016).



The Northern Blot

Songs Before the Duel

Free

Written, recorded and produced by Vincent Stockholm
Autoharp and Voice by Annabeth McNamara
Typography and artcover by BrigadeA4 

This is Alaska - Isolation

In Alert

Conversations with Xia Lang remain enigmatic. As far as determining his intentions, the 21 year old Beijing native appears to puzzle even himself. Citing a desire to abandon conventions and rebuke ritual in favor of daring experimentations, he nevertheless appears bound to the traditions that precede him. The declassified works contained in Codex exemplify Xia’s stance in his art: his sound counters the rigid norms demanded by his day job producing music for commercial media, fully embodying his outlook on the global creative landscape. Yet it remains familiar, if only distantly so.

By day Xia works toward completing a university degree while excelling in a job scoring ads, TV, and video games. He hopes to eventually compose for films - like Ryuichi Sakamoto - and one day carve a distinct stylistic lane for himself where sound meets picture. For now, he concedes to being a go-to composer in his field crafting music for broad appeal - a one-man orchestra playing the same hits over and over.

It was in the early days of university that he was finally able to visualize his path forward. Stumbling upon a chance performance by Yuyu Feng (aka Fishdoll), he found inspiration. Yuyu had just returned from New York, recently releasing music with local label Paxico Records. The two met after the show; song drafts and emails of encouragement soon followed. Yuyu saw a special quality in Xia’s instincts - something equally delicate and devastating unique to his artistic sensibilities. Xia felt the satisfaction of making music for himself, retreating deeper into the trenches of his abilities and imagination. After long days at work and in class, the late night became Xia’s arena to become the architect of his own sonic structures. The end result of his constructions would form his genre-defying multidimensional debut collection, Codex.

Spanning 30 minutes and a myriagon of styles, Codex flutters through cataclysmic IDM inflections, weightless baroque colorations, and swaying samba sensibilities. At no point does it fall comfortably under one label, rather finding solace as a shapeshifter. High flying string arrangements nod toward Xia’s work composing for picture, pairing rich neo-classical sentiments with a tasteful sampling of otherworldly electronic delights and blue jazz piano strikes. Xia’s work carefully meets Satie with Autechre with Bill Evans, only to violently mix them into a vibrant bloody pulp to create a new canvas. All moments of stylistic clarity are forced through a prism - twisted and reflected back at the music it once referenced as a deliberately vague adulteration of its former self.

Codex follows the beat of Xia’s drum in both abstract and material ways. “The Corridor”, along with the title track, marches at a swaying pace - impressed by round bass notes and open piano. “That, There,” “Angles,” and “Steps” explore the hollowed cavities of Xia’s investigations in structure, flipping traditional notions of arrangement into phantasmic mechanical rhythms. “Reddish,” featuring vocals from Fishdoll, finds an intersection where Codex’s stylings converge - blending latin-jazz influences with a soaring choir of arpeggiated vocal clips, all collapsing into a somber conclusion of solo piano; or, Xia left alone with his primary tool of invention.

Xia intends to carve his own space rather than encode a message. His goal through his art, while not explicit, is easily recognized through his enthusiasm for seeking newness in the midst of noise:

“I find beauty in little accidents…it’s really hard to give them meaning. I want to create - chords with color, beauty, and accidents.”

Second Sleep

AM Higgins

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