MAGNIT-IZ-DAT, by Ross Lambert

MAGNIT-IZ-DAT

by Ross Lambert

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albert pin It's a very subtle mix of the familiar and the eerily strange. I love wandering around in this parallel universe in which the blues has evolved very differently from what we know.

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Comes in a 6 panel digipack CD case with notes by Eddie Prévost and Ross Lambert

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1.	Floating blossoms 12:04
2.	Nightclub wife 11:18
3.	The melody that moves me 05:04
4.	Lure of a lowbrow engineer 08:01
5.	Sometime receptionist 10:12
6.	Hamish Imlach 05:03
7.	Easily influenced with a sense of doubt 04:58	buy track

about

A collection of solo recordings made on (24 March 2018) at the Cafe Oto Project Space, and from the back seat of a car in three South London locations. Available from 27 July as a CD and download.
Watch our video from the recording: youtu.be/0O9aU-wAydc

credits

released July 27, 2018

solo guitars and objects played by Ross Lambert
recorded, mixed and mastered by Daniel Kordik
and Edward Lucas
cover illustration: detail from a drawing by
Ross Lambert; ‘3 oligarchs visit Cafe Oto’;
ink on paper.
back cover photograph by Samantha Hayley

notes by Ross Lambert and Eddie Prévost

design by Earshots/dept2

--------------------------------------
REVIEWS
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Just as American Primitive is a recognised and recognisable genre of music played by guitarists in thrall to John Fahey, so there is an equally distinct, though unnamed, school of guitarists dedicated to perfecting and developing the innovations of Derek Bailey. Northern Irish guitarist Ross Lambert is one such acolyte – the improvisations on this CD are even mostly performed on an axe that previously belonged to John Russell, perhaps Bailey’s best known student. Certainly, you can hear the great man’s influence in Lambert’s glancing harmonics and jagged runs, but there are other, more personal imperatives at work, too. The opening piece, ‘Floating Blossoms,’ begins with what sounds like tuning forks being struck and then vibrated against the guitar’s body, before Lambert heads into a dense and thorny deconstruction of the blues with echoes of Bill Orcutt’s admittedly more gnarled approach. Elsewhere, Lambert talks to himself and absent-mindedly hums along with his own melodic fragments, creating the sense that we’re eavesdropping on a private daydream. It’s an intimate affair, well worth waiting for from the conspicuously under-recorded Lambert.
- Daniel Spicer, Jazzwise, October 2018

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Earshots Recordings, London

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