I love the variety and narrative journey of this album. No two tracks are the same but they all lead quite naturally from one to another for the duration. I've gone for Brundle Beats slightly Massive Attack meets Morricone vibe as a 'favourite track' but it was a tough choice next to the chillout of Open Again Eventually or the insanity of Heavy Hand that brings something like Squarepusher to mind and that's pretty compelling too... Just listen and make up your own mind! ;-)
Favorite track: Open Again Eventually.
After working on Rococochet (2017) I had a lot of fragments and sketches which for one reason or another I decided not to include; tape transfer experiments, small snippets of performances, room tones & offcuts, etc…, I always thought I would eventually get around to assembling something from these parts. While working with tape I really got into reversing my recordings, and a lot of compositions started out that way - listening to what I had on my tapes backwards and seeing what ideas would spark from that.
Three of the pieces on Bird Rib are cobbled together from those remaining sketches from Rococochet. The other 3 were written into and on top of older pieces that have been reversed: Open Again Eventually uses ‘The Closeness of Distance’ (Machines, 2013), Brundle Beat uses sections of ‘Highly Active Girls’ (also Machines), and Bird Rib was written to ‘DFACE [Practice This Video]’ (Feather Hammer, 2011).
I feel like I’ve uncovered rather than composed these pieces, opting to work intuitively in creating music that the raw materials seemed to suggest for themselves. There are nods in here to 90s-era IDM and trip hop with which I have a strong connection. For this project I worked with some of my go to instruments Mellotron, pianos, keyboards, synths, bells, mallets, but also champagne flutes and cutlery, garden tools, flutes and stylophones.
released March 19, 2020
Written, performed, engineered, produced and mixed by Leah Kardos
Recorded at Visconti Studio
Mastered by Ben Wiffen
Additional performers on Heavy Hand: Ben Dawson (piano), Paul Glover (drums) and Lara James (saxophones).
This is a gorgeous recording , moving and genuinely spiritual . Pharaoh Sanders has such a deep reservoir of feeling to offer . I have been a fan of his music since the sixties and “Tauhid” ! He just gets better & floating Points is the perfect foil. Listen, loosen and float slow. Jake Bialos
There is a presence to Perkins' music that is so very attentive to its listener. He makes sure you feel the emotions he's trying to express, but not in an overbearing way, but one that leaves you eager to feel more of it. This cup, whether happy or sad is definitely overflowing. Lost Tribe Sound