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Accompanied by his bandmates from BADBADNOTGOOD, Leland Whitty performs "Glass Moon" live on Blogoteque. "Glass Moon" is from his recently released debut solo album, Anyhow.
Leland Whitty of BADBADNOTGOOD releases his debut solo album Anyhow. The 7-track album displays Whitty's DIY approach to composition, production and multi-instrumental performances. Anyhow includes the previously released singles “Glass Moon,” which arrived accompanied with visuals directed by Raven Shields and Colin Med, “Awake,” which highlights his self-made compositional style and "Windows". Instead of following a specific narrative, the jazz improvisations throughout the project draw inspiration from photographic and cinematic sources. An exclusive olive green pressing of Anyhow is available for purchase at Vinyl Me, Please and the album can be streamed everywhere now.
Whitty worked alongside his brother Lowell, who he credits as being a central influence on his musical life, for the very first time when creating Anyhow. Beyond his brother, Whitty invited friends and collaborators, including BADBADNOTGOOD's Alex Sowinski and Chester Hansen, to contribute during the creative process to help shift the rhythm and energy of each track. Rather than a more rigid intellectual compositional method, Whitty developed the album based on small excerpts and improvisations to create an abstract body of work rooted in emotional exploration. Whitty's love of film scoring inspired the album: he worked on several film scores in 2020, including Disappearance at Clifton Hill (Albert Shin) and Learn to Swim (Thyrone Tommy).
Leland Whitty of BADBADNOTGOOD shares “Glass Moon,” the second offering from his forthcoming debut solo album Anyhow due December 9th. Arriving with visuals directed by Raven Shields and Colin Medley, the cinematic jazz number magnifies Whitty’s sonic journey and further showcases his multidimensional talent as a performer, composer, and director. The new single follows “Awake,” which Glide Magazine described as having “unforgettable melodies and masterful song structure” and has been celebrated by BBC Radio 1's Benji B, BBC Radio 6's Mary Anne Hobbs, Tom Ravenscroft and Gilles Peterson, and Totally Wired's Kev Beadle.
The 7 tracks of Anyhow use Whitty's do-it-yourself approach to composition, production and multi-instrumental performances, which include guitar, synthesizer, woodwinds, and strings, to create a narrative found in jazz improvisations that draw from photographic or cinematic sources rather than a specific story. BADBADNOTGOOD’s Alex and Chester were guests on the album, alongside other friends and notably Whitty’s older brother, Lowell – which Whitty credits as being a central musical inspiration in his life. This is the first time they had the chance to fully work together. Whitty built the album from small excerpts rather than a more rigid intellectual compositional technique. He would envision the whole scope of a song, asking friends to contribute shifting the rhythm and energy of each track.
Listen to "Glass Moon" and pre-order/save Anyhow.
See tour dates below w/ BADBADNOTGOOD.
11/30/22 - Zurich, CH @ X-Tra
12/02/22 - Utrecht, NL @ Ronda
12/03/22 - Brussels, BE @ Ancienne Belgique
12/06/22 - London, UK @ Brixton Academy
12/07/22 - Paris, FR @ Le Trianon
12/09/22 - Birmingham, UK @ O2 Institute
12/10/22 - Manchester, UK @ Albert Hall
12/11/22 - Bristol, UK @ Academy 1
12/13/22 - Glasgow, UK @ QMU
Multi-instrumentalist Leland Whitty of BADBADNOTGOOD announces his debut solo album Anyhow due December 9th. Across the 7-track project, Whitty uses a do-it-yourself approach to composition, production and multi-instrument performance to create an album that is a look inward, expressing something personal – a reflection of the experience of music itself.
Along with the album's announcement, Whitty shares the lead single "Awake." The new song combines synthesized keys, descending strings and layered horns combining cinematic composition with jazz and rock influences. Anyhow features Whitty on guitar, synthesizer, woodwinds, production, composition and strings. For the narrative across the album, Whitty drew from photographic or cinematic sources rather than a specific story. The aim was for the production and arrangement to imply the kind of structural narrative found in jazz improvisation.
BADBADNOTGOOD’s Alex and Chester were also guests on the album, alongside other friends and notably Whitty’s older brother, Lowell – which Whitty credits as being a central musical inspiration in his life. This is the first time they had the chance to fully work together. Whitty built the album from small excerpts rather than have a more rigid intellectual compositional technique. He would envision the whole scope of a song, asking friends to contribute to shift each tracks’ rhythm and energy. Whitty’s role was both performer, composer and in some way a director, asking contributors to execute in an organic way and editing the results.
Anyhow follows Whitty's work on several film score projects in 2020, including Disappearance at Clifton Hill (Albert Shin) and Learn to Swim (Thyrone Tommy) along with the stand-alone single "Violet Nights" created with a l l i e and Birthday Boy in 2021.
Read more about it on Consequence.
"The first time I heard "This Time Around" (by Jessica Pratt) I was mostly confused by it. Not because it's a confusing song, but because it made me feel so many things at one time, that I couldn't properly process anything about it. So I sat with it on loop, for what in my memory feels like 3 or 4 days in a row, and tried to grasp my feelings about it more completely with each individual listen.
I got to Berlin in August and I had a couple days in a beautiful studio out there near Gorlitzer Park. After tracking 3 or 4 demos I had the idea to cover "This Time Around" - it just felt like the right time. The recording you hear, as far as the acoustic guitar and vocals go, is all one live take because that's the way it felt best for me, when I got home to Toronto, my friends Kyla Chalmers and Leland Whitty (BADBADNOTGOOD) were kind enough to lend their playing to finish it off.
I'm trying to think of how to describe what it feels like to sing someone else's song and have it feel like something honest and personal to me. I'm starting to think that if I knew how to describe that, I wouldn't have recorded it and I would have just written about it in my journal or something. I think I understand a little better now, why songwriters (and musicians in general) have been playing each other's songs for so long. I think it's because there are just some songs that are better off being replicated in full, to pay full homage to, instead of being imitated partially." - Jonah Yano