High Alpine Hut Network - 727 / 16 (March 25, 2022 Ansible Editions)

When Christopher Shannon (of bands Bart and Possum) and Benjamin Pullia started High Alpine Hut Network, the intention was to explore cosmic extensions of house music. However with the addition of Jason Bhattacharya on drums, HAHN's recording sessions rapidly became a site of experimentation where members would generate raw material through structured improvisation and sheer spontaneity. Through this process, the project eventually evolved into a collaborative network of artists, each intent on bending sonic barriers in their own unique direction. On their debut, "727 / 16", High Alpine Hut Network swerves toward molten jazz fusion with heavy contributions from a number of noteworthy collaborators.

Robin Hatch—hailed by the Guardian as “a unique talent, and one developing a new grammar for the piano” performs on electric piano. Guitarist Tobin Hopwood—bandmate to Shannon in psych-prog quintet Possum—unleashes wild, strident shred while saxophonist Joseph Shabason, best known for his lush, ambient solo recordings, provides some of his most serrated horn playing yet, cutting through the web of synth, percussion and gnarled guitar. Shannon's production is downright greasy, enveloping the urgency of these performances in dark, viscous sonics that might recall Teo Macero's studio trickery or Lee “Scratch” Perry's fried circuits.

1. 727

2. 16

Jason Bhattacharya: drums, percussion and electric piano

Robin Hatch: electric piano

Tobin Hopwood: guitar

Benjamin Pullia: synthesizers and percussion

Lauren Runions: percussion

Joseph Shabason: tenor saxophone

Christopher Shannon: bass, electric piano, synthesizers and percussion

Nathan Vanderwielen: percussion and synthesizers

Produced and mixed by Christopher Shannon at Aytche and The Oscillitarium.

Engineered by Christopher Shannon and Nathan Vanderwielen.

Mastered by Jeff McMurrich & Kevin McPhee.

Photograph by Alex Carre.

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Adams / Dunn & Haas - Future Moons (March 25, 2022 Ansible Editions)

The trio of Kieran Adams (sampler, drum machine, drums), Matthew “Doc” Dunn (keyboards and electronics), and Andy Haas (reeds and electronics) is a subset of Toronto spiritual jazz practitioners The Cosmic Range. Where their parent-group tends to anchor itself with a firm pulse, the trio veers into various flavours of abstraction. Some pieces furnish nervy ambient waft, whereas others are more gestural—sometimes violently so. Meanwhile, on the title track, a synth bass ostinato lays a stubborn foundation for blistering hot-wired sax and undulating synthetic textures. In addition to leading the Cosmic Range, the multifaceted Matthew Dunn has made a handful of mellow folk records under his own name, contributed to the long-running Sub Pop Singles Club, and played with everyone from US Girls to MV + EE.

Reed player Andy Haas was once a member of crucial Toronto new wave outfit Martha and the Muffins and went on to collaborate with NYC Downtown notables such as Mark Ribot, Zeena Parkins, John Zorn and Ikue Mori. His signature shawm-like tone on the soprano sax is one of the primary elements driving Future Moons' white hot interstellar intensity. Kieran Adams was a member of buoyant synth-pop group DIANA, and has variously been heard alongside Bonjay, the Weather Station, and Joseph Shabason. He makes electronic music under the pseudonym Vibrant Matter, which made its debut last year with an EP for Halocline Trance.

1. Tulips for Cygnus

2. The Eye Listens, The Ear Sees

3. Soft Nebula

4. Temple of Time

5. Future Moons

6. Dynastics

Kieran Adams: sampler, drum machine and drums

Matthew Dunn: keyboards, electronics and photography

Andy Haas: saxophone, fife, hojok and live electronics

Recorded, mixed and mastered by Jeff McMurrich at Sonology.

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