Ingrid Laubrock, The Last Quiet Place

Paul Ellis had developed himself into a mighty force in electronic music. After his fantastic 2005-album “Silent Conversations” on which the American multi-instrumentalist (synthesizers, guitars, bass, rhythms) worked with guest musicians like Steve Roach and Jeffrey Koepper and the solo-album “The Infinity Room” from 2006, he returns with “The Last Hiding Place Of Beauty”.
This last hiding place was created visually by the innovative designer Pablo Magne through a really great cover. The mixture between good music and a fine cover always does well. Fitting like a glove.
Ellis was one of the founders of the retroband Dweller At The Threshold with which he recorded some memorable music. Solo, he has created classics with albums like “The Secred Ordinary”, “Silent Conversations” and “The Infinity Room” on the Groove Unlimited label. Also, he released “Echo System” with his fellow American and stylemember Craig Padilla.
With “The Last Hiding Place Of Beauty” he undoubtedly again has released a future classic.

Those who love rather complex and dynamic sequencer music with an acoustic edge and an occasional high-tech feel should check out the music Paul Ellis' has put down on his amazing album "Last Hiding Place of Beauty". The CD contains four long tracks, all making a powerful, straightforward statement, keenly melting vibrating sequencer patterns, fx's, and a wide range of vintage flavored synthesizer textures such as Mellotron flute. As said previously, the overall structure is rather complex, although lots of space is found within the core of every piece of music. The great interplay between bass grooves, drums, electronic and acoustic instruments is quite mind blowing, especially on the 16-minute title track. The overall outcome is simply breathing the joy of honest electronics more than once.

Those who love rather complex and dynamic sequencer music with an acoustic edge and an occasional high-tech feel should check out the music Paul Ellis' has put down on his amazing album "Last Hiding Place of Beauty". The CD contains four long tracks, all making a powerful, straightforward statement, keenly melting vibrating sequencer patterns, fx's, and a wide range of vintage flavored synthesizer textures such as Mellotron flute. As said previously, the overall structure is rather complex, although lots of space is found within the core of every piece of music. The great interplay between bass grooves, drums, electronic and acoustic instruments is quite mind blowing, especially on the 16-minute title track. The overall outcome is simply breathing the joy of honest electronics more than once.

With a new label, a new album, Last Safe Place, and a new sense of confidence and vitality, LeRoux is certain to surpass the considerable achievements of their first three albums. Last Safe Place is the sum total of six talents. Like the rich Creole gravy base—roux — from which the band took its name, many musical flavors such as Southern Boogie, Rock, R&B, and Pop are readily identifiable on Last Safe Place.

The album Dreamt Twice, Twice Dreamt follows Ingrid Laubrock's landmark orchestral album Contemporary Chaos Practices from 2018 (Intakt CD 314). Ingrid Laubrock presents on this double album five compositions in double version. On the first CD, the EOS Chamber Orchestra Cologne interprets Laubrock's compositions. The soloists are Cory Smythe (piano), Sam Pluta (electronics), Robert Landfermann (bass), Tom Rainey (drums) and Ingrid Laubrock (saxophone). On a second CD of the double album a filigree ensemble around the core trio of Ingrid Laubrock, Cory Smythe, Sam Pluta and the guests Adam Matlock, Josh Modney and Zeena Parkins play the same five compositions.

More than a decade ago, saxophonist-composer Ingrid Laubrock met pianist-composer Kris Davis at the recently shuttered historic hang Cornelia Street Cafe in downtown Manhattan, before Laubrock had moved to New York. Over the next years, Laubrock and Davis would inspire and challenge each other within varied musical contexts – and across a number of re-cordings – including Laubrock’s critically-acclaimed quintet Anti-House, as well as other traditional instrumental role-resistant small groups and sprawling orchestral settings.