About Bella Kay:
Bella Kay has quickly emerged as one of the most emotionally resonant new stars in pop. Born in Houston, Bella writes songs that come alive with intimacy and ache, exploring heartache, alienation, and survival with refreshing honesty and messiness. Her music is bare-faced and gutsy, delivered with a powerful, timeless voice atop a sound that blends fuzzy alternative-pop with the tender guitar hooks.
Bella spent her childhood moving frequently, criss-crossing Texas with her siblings and parents, who work in the travel industry. Beyond a brief stint in homeschooling, she frequently played the role of “new girl,” relying on humor to adapt to evolving social dynamics that could be strained or exclusionary for a young bi-racial girl. Along the way, Bella got to know her own inner world very well. “With all those moves, I didn’t have time to lose myself in friends,” she says. “I had to have a strong relationship with myself.”
Music and writing were constants throughout the upheaval. When Bella wasn’t singing in choir or performing in musical theater productions, she was blasting pop music through her earbuds and penning novellas into her phone. The family moved to Austin when Bella entered junior high school, in hopes of finding an environment that embraced creativity and was more accepting of blended families. Around the same time, during COVID, forthright songwriters like Olivia Rodrigo and Lizzy McAlpine encouraged her to combine her artistic passions. “My dad, who always encouraged us to pursue our passions, bought me a starter guitar,” she says. “And I literally never stopped.” She taught herself to play guitar using YouTube tutorials, and after a year or so, introduced herself as a songwriter at her high school open mic nights.
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.
