The name Huxley Maxwell is sourced from an interstate exit sign outside of Des Moines, IA that everyone in the city seems to know. It’s fitting since there’s something about the application of effects to loop-based music that always reminds me of travelling long distances by car.
After all, there’s a repetition inherent in driving the Interstate for hundreds of miles a day. How the proximity of the horizon line is indefinitely set by the limits of our visibility, but changes constantly by measure of our approach. The landscapes rearrange as we hurtle forward through each new biome, scattered throughout the states by tradewinds, seasonal variations and predictions from the Farmer’s Almanac.
This is how “Across the Cartoon Smoke” feels. Every movement is built on a foundation of repetition, but smeared like a species of plant filling its landscape with different shapes and sizes of itself that rise and fall and start anew every spring. An ambient soundscape divided into movements that don’t change so much as they bloom slowly. All transition and transformation.
credits
released March 12, 2018
Thanks YM, TR, TM, KVK, TW, Sleepy Dog, and JP
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"With little reliance on percussion other than a few small sections on side A, this pair of pieces unfold patiently, with gentle fades between major sections and delicate blending of elements that could be jarring in different hands (is that didgeridoo sneaking in underneath soulful piano toward the end of side A, for example?) I especially dug the opening section of “Lavender,” the B-side piece, as what sounds like koto and locomotive samples press into one another to unexpectedly melancholy effect, eventually dissolving into some subtle watery textures. World music for the otherworldly."
-Scott Scholz, Tabs Out
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