'Signal From The Noise'
Today, Canadian ensemble BADBADNOTGOOD returns to announce a new album. Talk Memory, the band's first album with XL Recordings, features 9 new songs and is due October 8th. The album features musical contributions from Arthur Verocai, Karriem Riggins, Terrace Martin, Laraaji and acclaimed harpist Brandee Younger, who has worked with Moses Sumney, and Thundercat. Sporting visuals from Virgil Abloh, whose design firm Alaska-Alaska™ designed the cover for Talk Memory, the album is an evolution focused on collaboration and the magic of improvised live performance.
Demonstrating emotional and poetic progress, the new album is an aural odyssey and a heartfelt expression of joy for the
music and community the band considers itself lucky to inhabit.
Of the album, BBNG says: "It took a year or two of just living life to get to the place where the creative process was exciting again and once we
actually went in to the studio it was the most concise recording and writing process we’ve ever had. We hope that the
improvised studio performances bring the listener closer to our live experience."
To coincide with the announcement of Talk Memory, BADBADNOTGOOD are also sharing the album's lead single. 'Signal From The Noise' is a psychedelic jazz track exploring balance and harmony through improvisation. The new track is accompanied by a Duncan Loudon-directed video. Starring Steve Stamp, writer and star of the BBC's sitcom People Just Do Nothing, the video is a pitch-perfect accompaniment to the song.
The album announcement comes on the heels of the band going viral on TikTok in June. Tallying 500k+ Tik Tok edit videos
of 'Time Moves Slow,' the band is now averaging 4.4 million monthly streams and over 3 million monthly listeners on Spotify. The band also
recently released issue one of The Memory Catalogue; a print series illustrated by Moya Garrison-Msingwana (Gangbox) of world-building newsletters that fold out into a 32” x 24” poster, releasing with each piece of new music to
contextualize Talk Memory. The newsletter-turned poster features exclusive content (sheet music, illustrated artwork, unseen photos etc.) that
allows fans to peek behind the curtain of the BBNG universe. See the list of locations here
. This collectible item is also available via the XL webstore
and indie record shops and downloadable sheet music for 'Signal From The Noise' is available here
Listen to and watch 'Signal From The Noise' and pre-order Talk Memory above, see album info below and stay tuned for more from BADBADNOTGOOD soon.WATCH: BADBADNOTGOOD - 'Signal From The Noise'
Canadian ensemble BADBADNOTGOOD made their name by crossing genre. This seamless movement between style hit hard when
they took hip hop into jazz and vice versa. Their latest album – and first with XL recordings – demonstrates them going
back to their instrumental beginnings. Instead of looking at the now, they reflected the history and innovation of those
that influenced them. To paraphrase Lamont Dozier, this is an album about going back to their roots.
BADBADNOTGOOD formed in 2010, moving between three and four members before establishing its current line up in 2015. The
band, aka Alexander Sowinski (drums), Chester Hansen (bass) and Leland Whitty (guitar and woodwinds), met on the Humber
College jazz program in Toronto. At the time, instead of working with traditional jazz standards, the group sidestepped
and drew from hip hop and other contemporary genres to create a unique sound rooted in Black American music, but 2021’s
Talk Memory pays homage to the musicians, composers and influences that first informed their work.
One of the central driving forces behind their latest album was to capture some of the focus, energy and improvisation
which is at the heart of their live shows. As they noted, a song is a living breathing thing that naturally changes and
evolves as it is played in different settings. This is an album that plays with that thinking. After years of touring,
the band paused, refreshed and looked at their history and experiences before starting out on their current instrumental
project. A sense of reflection and renewed communication is at the heart of their current approach to making music, and
the spark that led to the album’s pensive title Talk Memory. Whilst their early album recordings took place very quickly
the current project completely rethought this process. It was more intentional, had a longer gestation period and was
created over two years. The speed of their compositions, performance and sound has shifted in fresh ways. Instead of
improvising and growing their tracks on tour, that process happened in the studio.
The band demonstrates a sense of emotional and poetic progress, not just technique and virtuosity. They consider
themselves constant students, always listening and striving for new directions. Those new paths range from moments of
cinematic pacing to distorted improvisation. The album is a kind of aural odyssey, with all the sense of psychedelic
narrative that entails. It is about drawing on the energy of collaboration as it happens. The band recorded their latest
work in analog studios, as an intentional way to stay present and experience without drawing from the internet for
research or references.
There is also a shift to the collective rather than the ego. Rather than focus on credit, this is an album about
collective balance and harmony. Even when it includes guests like iconic Brazilian producer and musician Arthur Verocai.
Here the energy is about community and ensemble in its true sense. When New Orleans jazz emerged in the early 20th
century, the concept of united syncopated rhythms playing as an ensemble group was fundamental to its sound. The birth
of 20th century music was intertwined with the concept of collaboration. Here there is something utopic about
collaboration, community and music as a special, perhaps even spiritual form of non-verbal communication.
Talk Memory does not exist in a vacuum. It is the first element in a multi part project, which exist as projects in
their own right as well as intersect. The project is deeply cross generational, as
BADBADNOTGOOD brought attention to the lineage of artists that came before them and explored the privilege of being able
to bring their experience and skill to their music. The album includes contributions from a breadth of
multi-instrumentalists including Arthur Verocai, Laraaji, Terrace Martin, Brandee Younger, and Karriem Riggins, with the
album mix coming from Russell Elevado.
Another element is an expanded take on a contemporary counter culture book. The direction and sense of this publication
will be preempted by a series of poster zines released with each single. The book is a homage to the structure and
expanded take on meaning and information in something like the 1960’s Whole Earth Catalog. A brainstorm and examination
of concepts, creators, spaces, objects, teachers, terms and many other things BADBADNOTGOOD are passionate about. It was
also a chance to speak and profile their collaborators in more detail. What holds everything together is, of course,
BADBADNOTGOOD latest album emphasizes how music as a conversation is innately collaborative and improvisational. In a
way, their album is a giant take on a classic moment from live jazz or soul, where a band’s ‘leader’ would introduce
each member of an ensemble and invite applause. In turn BBNG, have created an album that is a heartfelt expression of
joy for the music and community they are lucky to inhabit.
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