About hemlocke springs:
Once upon a time, there was an artist named hemlocke springs who dared to create fantastical worlds by weaving hyper-personal tales into exuberant, ’80s-inspired art-pop anthems. Now residing in the faraway land of Los Angeles, the singer, songwriter, and producer born Isimeme “Naomi” Udu was crowned a bedroom pop star in 2022 with her first songs ever “gimme all ur luv” and “girlfriend,” released while in graduate school for health informatics. Bestowed with early praise for those singles’ quirky melodies and bubblegum synths by DIY icons like Grimes and Steve Lacy — and dubbed one of Chappell Roan’s favorite artists — she swiftly went on to open for tours by fellow world-builders Doja Cat and Ashnikko (and shall sally forth with Conan Gray next). And her era-transcending catalog continues to capture new fans, with DOECHII going live on social media this year to walk her fans through “girlfriend,” saying, “This song is not even of this time. It surpasses this time. It’s incredible … She’s so good, she’s a rockstar, it’s crazy.” But now, hemlocke pushes her whimsical work to new genre-defying heights, revealing the next level of her theatrical artistry on her debut album, the apple tree under the sea.
The apple tree under the sea is a fever dream of a concept album in which our hero, hemlocke springs, sets off on a journey of self-discovery — one that requires her to confront the chaos and repression of her past in order to claim the full, liberatory life she once didn’t even know was possible. Sprinkled with references to her Christian upbringing with Nigerian immigrant parents, the project begins with her coming across a red apple — a symbol of knowledge or “worldly” things, as hemlocke explains, and then tracks her inner transformation as she unpacks the traumatic memories and longheld beliefs that held her back from self-acceptance.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
About SLIFT:
Every previous album by the radiant and heavy French trio SLIFT—brothers Jean and Rémi Fossat and drummer Canek Flores, a friend since high school – has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. But, in a bit of intentional irony, SLIFT’s fourth album is called Fantasia without actually being one. It is, instead, their leanest and most direct record, a pointed saga about overcoming international upheaval delivered by a band bearing down without wasting a second. SLIFT didn’t want to lose the message by playing too much. They’re preparing for a battle they think we can still win.
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. (SLIFT even borrowed the song title “Orbis Tertius” from Borges.) Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order. The town comes into focus on “Corrupted Sky,” where Fossat’s narrator tries to dodge doom upon arriving there. Hope starts to emerge during the record’s back half, as people start to remember that they are more than their society’s oppressive uniformity. These eight songs, then, are about trusting in the power to fight back, however hidden it may seem.
