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LP
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KRANK 244LP
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"Jacob Long's fourth full-length for Kranky began as a notion to reimagine Earthen Sea as a 'piano trio,' inspired by a year-long immersion in the ECM label catalog, but the compositions soon grew more complex. Elements were chopped and resampled, then layered with bass, drums, percussion, and additional keys. The result is a fusion of live band acoustics and downtempo loops, sculpted into nine smoke-and-mirror dubs of fractured jazz, soft-focus noir, and trip-hop dust: Recollection. Like the title implies, Long's playing and production share a mood of pensive movement, shuffling and rippling like uncertain memories at strange hours. From looming fog ('Present Day,' 'Neon Ruins') and shadowy breaks ('Another Space,' 'Cloudy Vagueness') to rosy glows ('Clear Photograph') and smeared reverie ('White Sky'), Recollection deftly wields its palette of gradient color and subdued states of beauty. His is a music of reduction and reflection, kinetic but oblique, attuned to the silhouettes of sound."
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LP
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KRANK 234LP
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LP version. "Jacob Long's third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrythmias of dust, percussion, and yearning. Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there's a sense of matter made animate, of absences felt. Long cites notions of 'the studio as a dub instrument' and the melancholy of '7th chords on a fake Rhodes patch' as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed-out cities, for views across rivers towards unknown shores: restless, placeless, and profound."
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CD
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KRANK 234CD
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"Jacob Long's third Earthen Sea outing for Kranky, Ghost Poems, further refines his fragile, fractured palette into fluttering arrythmias of dust, percussion, and yearning. Composed during the first wave of lockdowns in New York, the pieces took shape patiently from samples of piano, texture, and domestic sounds (sink splashing, room tone, clinking objects), filtered through live FX to imbue them with an intuitive, immaterial feel. Wisps of melody splinter, shimmer, and refract, like light on water; pulses accrue and dissipate, as if mapping shifting sands. Throughout, there's a sense of matter made animate, of absences felt. Long cites notions of 'the studio as a dub instrument' and the melancholy of '7th chords on a fake Rhodes patch' as central elements in his process, transforming raw materials into rare thresholds of symbiosis and hypnosis. This is music for night skies in hollowed-out cities, for views across rivers towards unknown shores: restless, placeless, and profound."
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CD
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KRANK 222CD
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"Jacob Long's reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass And Trees. He describes the creative process as one of 'simplifying things as much as possible,' designing uncluttered spaces traced in nothing but breath, field recordings, and 'sounds that could be played by hand but weren't.' The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments -- dub techno disassembled into stray pulses and spare parts. It's a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness. Long's vision is a grounding one, rooted in the physical body but attuned to larger currents: 'In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.'"
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LP
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KRANK 222LP
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LP version. "Jacob Long's reductionist rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely elemental state on his second excursion for Kranky, Grass And Trees. He describes the creative process as one of 'simplifying things as much as possible,' designing uncluttered spaces traced in nothing but breath, field recordings, and 'sounds that could be played by hand but weren't.' The results feel decentralized but dynamic, low-lit evocations of ambiguous nocturnal environments -- dub techno disassembled into stray pulses and spare parts. It's a music both interior and infinite, languorous yet transformative, made in the outer boroughs of a metropolis but existing in its own liminal wilderness. Long's vision is a grounding one, rooted in the physical body but attuned to larger currents: 'In response to living in a fairly hectic city, and at a very hectic time for the world at large, creating something more drawn back and restrained felt appropriate.'"
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