June 12 street date. RECORD STORE DAY release. Seattle's High Pulp returns with a brand new instalment of covers on "Mutual Attraction Vol. 2". A spiritual jazz journey, interpreting arrangements by Arthur Verocai, Cortex and Casiopea. The 8-piece fusion band pays homage to tracks and artists that have woven themselves into the DNA of their band. Rich textures and cinematic grooves alongside trippy guitars, lush Rhodes keys, and soulful horns. Covering tunes that may have flown under the radar, but have impacted the group immensely. High Pulp's signature sound is a Psychedelic fusion of Hip-Hop, Funk, Jazz, and Soul which come together with complex, well thought out arrangements and progressive style.
April 23 street date. EXPERIENCE FRANK OCEAN THROUGH THE EARS AND SOUNDS OF HIGH PULP, AS THE MUTUAL ATTRACTION SAGA CONTINUES, WITH THE FINAL INSTALLMENT OF THE PROJECT. While the first 2 volumes in the series pay homage to free and experimental jazz legends that have informed the lens of the Seattle, Washington-based band, Volume 3 steps into the R&B/Hip Hop world, as the band performs their fresh takes on 3 Frank Ocean tracks, from the ‘Endless’ album. Along with digging into a different genre of music and focusing on just one artist to pay tribute to for this volume in the series, MA 3 also has the band performing as their largest ensemble yet. A 15-piece band, including a 5-piece string section, gives no limits to these reimagined versions of Frank Ocean tunes. Canadian pressing at 45rpm.
April 15 street date. There's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, "Pursuit of Ends". Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.
April 15 street date. There's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, "Pursuit of Ends". Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.
April 15 street date. There's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, "Pursuit of Ends". Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.
April 23 street date. EXPERIENCE FRANK OCEAN THROUGH THE EARS AND SOUNDS OF HIGH PULP, AS THE MUTUAL ATTRACTION SAGA CONTINUES, WITH THE FINAL INSTALLMENT OF THE PROJECT. While the first 2 volumes in the series pay homage to free and experimental jazz legends that have informed the lens of the Seattle, Washington-based band, Volume 3 steps into the R&B/Hip Hop world, as the band performs their fresh takes on 3 Frank Ocean tracks, from the ‘Endless’ album. Along with digging into a different genre of music and focusing on just one artist to pay tribute to for this volume in the series, MA 3 also has the band performing as their largest ensemble yet. A 15-piece band, including a 5-piece string section, gives no limits to these reimagined versions of Frank Ocean tunes. Canadian pressing at 45rpm.
July 28 street date. Los Angeles-based experimental jazz collective High Pulp will release their new album "Days In The Desert" in peak sweltering summer heat. The titular desert is both literal and metaphorical: it's the Mojave Desert that the band powers through on their many DIY tours around the country, and the band's founder/drummer Bobby Granfelt perceives the desert as "a spiritual quest" as well. "Days In The Desert" finds the West Coast band fully emerging into their own sound. Rooted in the jazz tradition while also smitten by indie-rock and electronic music, High Pulp was willing to grab from all these sounds at once to pursue something truly their own. Their third full-length album (following 2022's promising Anti- debut "Pursuit Of Ends"), "Days In The Desert" reveals the band realizing their strengths, deepening their own bonds, and pushing all these skills into a thrilling new sonic vista all but unimaginable just a few years before.
July 28 street date. Los Angeles-based experimental jazz collective High Pulp will release their new album "Days In The Desert" in peak sweltering summer heat. The titular desert is both literal and metaphorical: it's the Mojave Desert that the band powers through on their many DIY tours around the country, and the band's founder/drummer Bobby Granfelt perceives the desert as "a spiritual quest" as well. "Days In The Desert" finds the West Coast band fully emerging into their own sound. Rooted in the jazz tradition while also smitten by indie-rock and electronic music, High Pulp was willing to grab from all these sounds at once to pursue something truly their own. Their third full-length album (following 2022's promising Anti- debut "Pursuit Of Ends"), "Days In The Desert" reveals the band realizing their strengths, deepening their own bonds, and pushing all these skills into a thrilling new sonic vista all but unimaginable just a few years before.
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2020/10/30
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