Like the Grass

by Stacey Juritz Ravens Keller

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oakvertebrae Whether immersed in the improvisational grandeur of the A side, or the innovative reworkings on the flip, this sonic adventure never falters.
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    Like the Grass pressed to vinyl. Mastered by Sam Annand and cut in Germany by Optimal. Design by Richard Greenan.

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of The Very Best of Sebastian Palomar, Rehearsing Heat, HAPPENSTANCE, All for Fall, Nothing New Under the Sun, Lira, Triple Bluff, Like the Grass, and 38 more. , and , .

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  • CUSTOM ARTWORK test pressing
    Record/Vinyl + Digital Album

    Edition of two test pressings with hand painted sleeve. Custom art, same lush sonics. Mastered by Sam Annand and pressed in Germany by Optimal.

    Includes unlimited streaming of Like the Grass via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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  • test pressing
    Record/Vinyl + Digital Album

    Test pressing of Like the Grass, mastered by Sam Annand and pressed in Germany by Optimal. Minimal artwork, same lush sonics.

    Includes unlimited streaming of Like the Grass via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

    Sold Out
1.
Like the Grass (live in Basel) 23:15
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2.
Set (Object Agency remix) 04:44
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3.
Ehrfurcht (Galina Juritz remix) 03:36
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4.
LTG (Tom Skinner remix) 04:36
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5.
Fluss (Cara Stacey remix) 03:42
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about

Like the Grass documents and reimagines a warm summer’s evening in Basel, Switzerland. In June 2018, four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harpist Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.

Together they improvised using a graphic score titled “Luhlata njengetjani” (“Green like the grass” in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow’s dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.

This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. Joined by two of their favourite producers in Michael Marshall (Object Agency, Poirier Marshall Partners) and Tom Skinner (Hello Skinny, Okumu Herbert Skinner Trio), Stacey and Juritz turned their attentions to the B side, unpicking the live fruits and arranging four new mosaics - ranging from frenetic techno to fractured R'n'B introspection, via languid hip hop and Cara's rambling, euphoric closer.

🌾

Recorded as part of Cara Stacey’s studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.

Mastered by Sam Annand. Design by Rich Greenan.

🌾

Praise for Cara Stacey:

'Spellbinding and beguiling' - Boomkat

'Stacey gives South African music a dizzying, beautiful spin' - Pitchfork

'Hypnotic' - Textura

'Absolutely lush' - Wire Magazine

'Groundbreaking' - Folk Radio UK

'A gradually expanding album that will captivate you more and more' - Norman Records

'Wonderful' - Bleep

credits

released July 3, 2020

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