MDR Selects, a series where we invite our favourite artists, record stores, labels and more to curate a playlist of songs that hold specific meaning to them.
Experimental jazz trio Still Moving are behind the selections this time, ahead of the release of their debut EP on Lanquidity Records.
Comprised of Nat Phillips on saxophone, Pike Ogilvy on drums and Sam Bates on synthesisers and drum machines, the trio’s sound is an exciting fusion of jazz, folk rhythm traditions, club-oriented electronics and progressive experimentalism. The group’s recorded material reflects the live, improvisatory nature of the project, mixing raw and dynamic performance with an experimental approach to studio production.
The group’s MDR Selects contextualises their varied and cultured sound, offering a glimpse into the records that have directly and indirectly shaped their own musical output. As they explain, it’s “a collection of scatter-brain tunes that have felt important to us for one reason or another. Some are things we wish we were making ourselves – tunes to strive to. Some are things we’ve heard and felt at really important times in our lives. Some are works that radically altered the way we approach music-making.
Many of these are pieces we have experienced and come to together as a band – shared in as collective inspiration and excitement, fodder for the generation of our own sound. A few emerged out of the more niche and freaky corners of our individual passions. All of them make up a sound world that continues to shape and move us and may just do the same to you.”
Sam: “Mala’s ‘Calle F’ blew me away when I first heard it. The record feels massive but also very intimate, it’s so easy to get lost in the space and rhythms. I love Mala’s mix of electronic and acoustic sounds on the album, and this track is a great reference point for the kinds of textures we’re into as a band – the synthesis of grainy and organic with a crisp and expansive electronic framing.”
Nat: “What is amazing about ‘Vordhosbn’ is that it’s full of strange contradictions. The glitchy groove at the base of the tune is impatient, relentless, hyperactive – like an audio representation of a panic attack – and yet somehow the overall mood is deeply nostalgic and pensive. As a result this song is appropriate for an unlikely combination of circumstances; it’s the perfect tune for traveling through the city at night, but equally to run to on a bright morning. It serves as a cathartic release for anger, it comforts despair, it can induce dancefloor ecstasy. It’s melancholic, it’s depressing, it’s hopeful. It shouldn’t be able to exist, but it does, and I love it.”
Pike: “For me, watching This is Not This Heat’s final London performance this summer was a real pivotal moment for my own development. They were working from the principle that the shows were not a nostalgia trip for a past sound or scene but rather a re-injection of energy, a contemporary turbo-charge-reimagining of past materials. It was one of the most inspiring and razor sharp performances I have ever seen – 90 minutes of total magnetism. Horizontal Hold from the John Peel sessions is a particularly influential track: and just as it became a raw material to be reimagined in their recent shows, so too has it become a raw material that has generated so many ideas in our own work.”