BUSTY AND THE BASS SHARE LIVE OF THE FLOOR VERSIONS OF TRACKS FROM FOREVER NEVER CARES, FILMED AND RECORDED AT BREAKGLASS STUDIOS
WATCH / SHARE “NO SELF CONTROL” (THE BREAKGLASS SERIES: PART 3)
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Photo Credit : Jean-Phillipe Sansfaçon // DOWNLOAD HIGH-RES
"No Self Control (The Breakglass Version)" is the third and final piece from Montreal indie collective Busty and the Bass’ live off-the-floor video series, recorded at Breakglass Studio. The lush and explorative jazz track steps even further into the realm of improvisation and pushes the boundaries of the band's musical influences. Now as a 10-piece arrangement, featuring trading solos between trumpet and saxophone, along with Alistair Blu's dream-like lyrics, the track is a deep, meditative soundscape.
“The song originated as an instrumental piece written and arranged by Chris Vincent,” the band says. “The lush chords and constantly changing harmonies inspired the abstract, dream-like lyrics Alistair Blu eventually added for the track. The original version, from our album Forever Never Cares, concludes the LP with a deep, meditative solo by LA-based saxophonist/producer Terrace Martin.
“The ‘Breakglass Version’ steps even further into the realm of improvisation and pushes the boundaries of our jazz influences. This version was recorded live off the floor with a 10-piece arrangement of the band and features trading solos by Scott Bevins (aka No Cosmos) on trumpet and Chris Edmondson (aka Ivy Boxall) on alto saxophone.”
WATCH / SHARE “NO SELF CONTROL” (THE BREAKGLASS SERIES: PART 3)
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MORE ABOUT BUSTY AND THE BASS
For the Canadian-American soul-jazz collective Busty and the Bass, collaboration has always been at the forefront of their music. Formed at McGill University in Montreal over a decade ago, the group is now scattered across four North American cities from coast to coast. Yet, with a collaborative spirit at the heart of their third studio album, Forever Never Cares, the members have never been more connected.
Over the years, the group has collaborated with legendary artists George Clinton, Macy Gray, Earth Wind & Fire, Slum Village, and exciting new voices like Polaris Music Prize winners Cadence Weapon and Pierre Kwenders. Most recently, the group dropped a mini-album with Philadelphia poet and rapper STS. Despite such a strong history of partnerships, Forever Never Cares reshaped the band’s creative formula and redefined how they worked together a decade into their career.
WATCH / SHARE “STARSTRUCK” (THE BREAKGLASS SERIES: PART 1)
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After a founding member and primary songwriter left the band in 2022, the collective used the opportunity to re-approach their creative process for the first time in years. Songs would be brought to the group from individual members or smaller formations of two or three members writing together. Interestingly, more voices involved in the songwriting resulted in the group’s most refined output to date.
WATCH / SHARE “SMOKE AND THE PINE” (THE BREAKGLASS SERIES: PART 2)
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Two previous studio albums, Uncommon Good (2017) and Eddie (2020), saw the band experiment with genres effortlessly changing styles song to song, from soul to funk to pop.
Forever Never Cares finds the collective both broadening and distilling their influences into a unified sound that is entirely their own. This is due in large part to founding member Christopher Vincent who engineered and mixed the album. Vincent found a sonic language that would compliment all of the disparate genres being stacked atop one another.
With soul and R&B as the album’s cornerstone, the record is sprinkled with cross-genre explorations. From the indie rock-inflected uptempo singles “All The Things I Couldn’t Say To You” and “Wandering Lies,” to slow-burn ballads like “Give Me A Smile” and “Never Get Enough,” to the celebratory pop-funk of “Starstruck” and “No Angels,” a touch of 70s singer-songwriter on “Smoke and the Pine” and “Holiday Drive,” and the psychedelic jazz explorations of “Far From Here” and “No Self Control” featuring saxophonist Terrace Martin, a frequent collaborator of Kamasi Washington and Robert Glasper.
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