I still exist!
I miss this board... things just got kinda crazy with school and uh life and stuff and I don't know... stopped posting for a bit and then stopped checking and then... it's been years all of a sudden!!!! hope everybody's been well - this place certainly helped me get through some tough times (whether with sonic or other forms of support)!
anyways I was just going through a little kick of Hookworms and felt inspired to come check the board after not having done so in several years... funny then to see this thread!
Real quickly re: gazebo effect since I just saw you asked about it in the other thread JB - the third player on it is Mitchell Brown, aka Nanny Canteloupe, Prof. Cantelopue, and other alter egos (check out his shows on dublab.com)... an element of SA which has always made it special (especially in the live context) is how much it changes based on the specific constellation of people involved, and I think Gazebo Effect is one of the best demonstrations of that - it really is Sun Araw poured through Mitchell Brown's brain. To me the record answers the question: "what does sun araw sound like to mitchell brown?" Maybe I will take some time to try to collect thoughts on it later...
Excited for the new one! The three things I think to note/that stick out from that first track
1: Vocals - Cam has seemingly gotten more and more comfortable over the past few years bringing the vocals out of the sludge and into the clear water....
2: Jon Leland has been playing percussion for the live band for a while now (mixture of acoustic percussion elements and a digital kit sending data to Ableton which cam can then work with using his Push controller) - his influence is super apparent in this new track as well, and
3: SK Kakraba - he is a Master Gyil (Ghanaian xylophone) player, and spent a lot of time at CalArts/in LA the past few years; Sun Ark put out a record of his a year or two ago - and I think the sort of tempo modulation and also tonal space Cam is occupying in this new track can definitely be traced back to SKK - also just in terms of timbre, that sort of steel drum/pitched percussive sound that has shown up so much in SA stuff since like, the Inner Treaty definitely resonates with the the sound of the gyil.
also, of course, the world-building of each record is something that I have adored about them - the art, the text, the press releases, etc all establish their own little mythos... have a feeling he is getting really elaborate with the heracles-herding-cattle thing on this one, which is great in my opinion! Part of what makes his records so fun I think is feeling like you are escaping into his bizarro universes.
One of the things that's so great about SA is that no two records are alike, and I'm sure that this new one will continue the trend -
a photo of me playing with the SA band in Copenhagen! that's me in the center with my back to the audience. It was this crazy octet big band thing that I did the performance interface programming for (it was kind of this weird tribute to the Yamaha DX7 rack-unit, the TX802 - we were using 1x Casio MIDI guitar, 3x Electronic Wind Instruments, 1x Doepfer Bass Synth Touch Ribbon, 1x Ableton Push, 1x Acoustic/Digital Percussion, 1x Omnichord, all driving and cross-modulating different voices on the TX-802 and also in Ableton, pretty much just an insane improvisation system - I was the 9th person managing that system which I programmed).