20–21 September 2015
Two day residency from restlessly creative West Coast artist Cameron Stallones – aka Sun Araw, performing with full band following on from the release of new double album ‘Gazebo Effect’.
Over an evolving canon of full-length albums, astrally-aligned collaborations and some arresting visual work, Stallones has evolved as a singular purveyor of hi-def psychedelia, tweaked-out dub and deep-focussed stumble-funk.
“The music Stallones makes as Sun Araw plays tricks with time and motion. His albums fantasise narratives of time travel, dreaming up encounters in ancient Rome or future sci-fi dystopia. But the way the internal dynamics of his music warps space-time set him apart from the retro-fixated US DIY retro underground he rose up with in the late 2000s. Longform improvisations zoom in on a sinle moment locked in a loopy baseline, ragged fuzz guitar or rhythm cluster, exploring it again and again until a whole world unfolds out of it.” – Derek Walmsley, The WIRE
”In recent times Stallones has played the stereo field with the gleaming refracted glory of last year’s BELOMANCIE LP, which followed ICON GIVE THANK, an incredible collaborative album between Cameron, M. Geddes Gengras and roots reggae vocal legends The Congos via the RVNG label as part of their FRKWYS series. 2014 also saw a serendipitous glide round Europe in tandem with ambient pioneer Laraaji entitled The Play Zone.
Now, the latest configuration of Sun Araw Band (aka S. Araw “Trio” XI) brings us GAZEBO EFFECT, a double album set out in June that informs the game-changing A/V live show set to tour Europe in Autumn . Over the course of several studio dates in Hollywood, California, “Trio” players Cameron Stallones, Alex Gray, and Mitchell Brown (with no prior intentions of doing any such thing) successfully planted a garden of “non-dimensional” objects, not only spontaneously generating these objects but also mastering their nurture and cultivation. “And You Can Too!”
GAZEBO EFFECT is a 2xLP nocturnal stroll into the depths of the garden, its upper lawns and outbuildings. The listener is advised that as these objects have been “set growing,” their location at any given time is difficult to predict. The Garden cannot be exited by the path it is entered, the angles involved being extremely precise. These factors (and others) clearly illustrate the value for oneself (and others) in the building of an observational structure: The Gazebo. However, it must be understood that the presence of this structure has a transformative effect on The Garden Itself.
In other words, the “Gazebo Effect” is a music production system that allows a performance to be obstructed & (thus) interpreted while it is being played.”
