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King Of Blue

Yes aye! Laurie Tompkins & Otto Wilberg duo Yes Indeed make good on the promise of a 2021 single for Why Aye with a debut EP of melismatic bass goo and spangled synths like Funkadelic dropping mescaline with Pekka Airaksinen.
Respectively responsible for standout solo sides in recent years, especially that electric bass madness Willberg released via Black Truffle last year, with a wonderfully succinct, cunning twist on fusioneering styles in ‘King of Blue’. In 12 all-too-fleeting minutes they pucker up a six-piece suite of distinctive parts that gel into a remarkable whole, characterising their skill at wrapping classic templates into something familiar yet patently strange and head-turning.
Bursting on the mind with explicitly lysergic suss in the opening blast of shearing synth and rolling bass cadence, they come on in the tightest flashes of Funkadelic guitar lick and computer musick with ‘Double Doors’ and the skewed sexiness to ‘Top Floor’, messing with cartoonish phone voices in ‘Deer District’ and tying it all together in a standout titular denouement where it sounds vividly as though they’re actually speaking through the instruments with such vividly expressive, even absurd, chops, and allow it all to come down gently in ‘Fudge Sun’. Trust these are two of the best to do it right now.
Lovers of everything from classic Lovely Music, Inc. to Bootsy Collins should fill their boots immediately.

»Metropolis« – toller Film. Ganz besonders toll, wenn von Jeff Mills live und nicht in Farbe vertont: Unheilschwangere Keys, gellende Orgeltöne und schiefe Arrangements bauen aus Mitteln des Fusion Jazz eine Musik gewordene Drohkulisse auf, die dem Opener von Yes Indeeds Minialbum »King Of Blue« frappierend ähnelt. Und doch macht »Dream Spot« etwas anders. Knapp nach der Minutenmarke setzt eine beruhigende Gitarre ein und löst die psychotische Atmosphäre. Es ist diese Kombination aus Habt-Acht-Stellung und den klanglichen Refugien des New Age, die das Duo aus Laurie Tompkins und Otto Willberg auf den sechs meist knappen Stücken immer wieder zelebriert. Die Übergänge geraten fließend, sodass sich das Minialbum zugleich anfühlt wie ein Minikonzert. »Double Doors« vermählt eine dramatische E-Gitarre mit den unentbehrlichen kosmischen Synths und klingt auf faszinierende Weise erratisch. Yes Indeed fangen stets mit einer blütenweißen Leinwand an, vermögen diese aber durchaus idiosynkratisch zu beklecksen. Und es ist nicht so, dass es keine genuin schönen Momente geben würde: Auf »Top Floor« betten sich berauschende Synths im Stile von Iasos auf einem erdigen Bassfundament. Und der Titeltrack könnte von Plaid stammen, arbeitet aber zugleich mit den breitbeinigen Registern der Rockmusik. Höchst einfallsreiches Kurzvergnügen, das mit seiner Hyperaktivität nah an der Grenze zur Überforderung agiert.
Maximilian Fritz

Les Marquises ft Mike Ladd / Yes Indeed

presented by ArsVitha & meakusma

Les Marquises ft Mike Ladd
Emilie Škrijelj : accordion, turntable, electronics
Mike Ladd : voice, poetry
Tom Malmendier : drums
In 2021, the duo open his door to the american rapper and poet Mike Ladd’s spoken word, for a post-futuristic dive in which two imaginary planets face to each other, a dramatic epic, a science fiction tale narrated by an outstanding storyteller on a sharp music which reveals the shape of an intimate and wild landscape.
“In the plastic organicity of this trio. We know the duo Emilie Škrijelj & Tom Malmendier, otherwise known as Les Marquises, we know Mike Ladd’s striking antics. Reunited, the 3 vocalists/instrumentalists deliver a tale of improvised anticipation, a modern and actual tale where a world disappears little by little in the wanderings and forgetfulness of what founded it. No link with ours? Possibly. Although. What is important with improvised music, as practiced, sought and found by Škrijelj & Malmendier, is that it lives with both feet in the most urgent reality. And Mike Ladd’s impatient ogre verve is not going to calm the game down. ”
Point Break, Guillaume Malvoisin
“This meeting in the summer of 2021 with one of the most radical duos of the French-speaking improvised scene is a testament to this, and it is undoubtedly in this aesthetic that he finally feels most comfortable. Recorded at the Météo festival in Mulhouse, this concert with drummer Tom Malmendier and accordionist and turntablist Émilie Škrijelj offers a double confirmation: first, Les Marquises is a band capable of building any climate. Secondly, Mike Ladd is a formidable narrator, capable of appropriating these imaginary latitudes and giving them life.”
CITIZENJAZZ, Franpi Barriaux
Yes Indeed (Bison – 33-33 – UK)
Yes Indeed are Laurie Tompkins & Otto Willberg. Live, they play keys, bouncy bass and sing over tactile, emotive samples. The music is fuggy and soaring, deliciously out of place.
On 2021’s ‘Exorcise’ EP, they let ratty violin, syrupy bass and foolish voices congeal over a backbone of co(s)mic spinnet and pit percussion. Boomkat rightly dubbed it “proper mad scones”. ‘Rotten Luck’ – a sodden, diaristic epic and YI’s first album proper – is out now on Bison.
Laurie is a composer, helps run the Slip label and has put out CDs on Entr’acte, 33-33 and Hyperdelia this year. Otto is a bassist, plays in groups with Ashley Paul & Charles Hayward and his great band Historically Fucked has an LP coming on Upset The Rhythm.


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