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Most Least is proud to present the sophomore album from space travelers union - ‘New Birth’.

After the fast-paced creation of their debut modern jazz record ‘the trials of bunny john’ (conceived and recorded in just one week at EastWest Studios in LA) the collective spent the next year playing live constantly. From local bars to sharing stages with some bona fide legends like Echo and the Bunnymen, and hot current acts Glass Beams (Ninja Tune), and BALTHVS.

The record won plaudits from a host of tastemakers and industry names like: Geordie Greep (Black MIDI), Jamie Reynolds (Klaxons), Deb Grant, Tom Ravenscroft, Emily Pilbeam, Huw Stephens (BBC6Music), France Musique, FIP all weighing in with praise, sending the band’s reputation far beyond their native Arizona homeland. The new album - ‘New Birth’ follows up elegantly and logically on the same trajectory - epitomising the idea of refinement without losing the spark.

With every gig they dove deeper into what they were actually trying to say as a band and hyper-focused on their craft as musicians as well as songwriters. At its core, the new record is a clearer and more fully-realized version of the original concept they began with. Blending a unique brand of modern jazz, with elements of psychedelic rock, ambient, and electronic elements in a way that feels immersive and thoughtfully shaped.

And the results are quite simply astounding, from the classic melodic sounds on tracks such as: ‘One Thing’, ‘Boat Bar’ and ‘Vestibule’ reminiscent of peak Herbie Hancock, to the frantic pent-up jazz energy on ‘Where Did I Put My Hokas?’ coming off almost Charles Mingus-like. Cooked up alongside the intriguing compound time signatures and infectious builds of ‘Self-Referential’ and ‘Heliocentric’ and littered with several left field electronic and psychedelic short-form ideas that showcase the vast range, forward-thinking production, and incredible ability this team has. To close it out there’s even time to reimagine a US traditional song ‘Shenandoah’ as you’ve never heard it before in an arrangement that inspires hope and awe during the epic finale.

Bandleader Ryan Wheless explains further:

“This time around, I was writing with more intention. I drew heavily from Bill Frisell’s use of triadic harmony, while Colin (McIlrath, bass) brought in his signature odd-time writing and melodic sensibility. His compositions contribute a distinct new voice to this album and are essential to the overall shape of the project.

We also expanded the sonic palette. Alongside our core instrumentation we added Rhodes, Grand Piano, Oberheim, and Juno, which helped create a more layered and textured sound without losing the immediacy of live performance.”

Beyond the music, the gorgeous album cover artwork (created by Asta Hiroki and Gianluca Cardinale) mirrors the record’s juxtaposition of feeling both inherently vintage and modern simultaneously, with a Bauhaus-inspired series that has been subtly modernised. Fitting the concept by drawing from an artistic school of thinking that came to widespread popularity in a similar time as jazz, with its focus on asymmetrical, abstract, and angular design that complements the music perfectly.

creative music collective- featured on BBC, FIP, WorldwideFM. @spacetravelersunion

1. spacetravelersunion.com