New Album Preorder Switched ON – Listen Here

New Carl Stone album coming soon! The We Jazz label in Finland turned Carl loose in their archives for some of his patented sampling psychosis. Carte blanche y’all! The release is a curacao blue transparent vinyl edition. Inside out matte sleeve, corner OBI with liner notes, inner sleeve with source album design reflections.
Your order of We Jazz Reworks Vol. 2. gets you 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released in October.

New Album Now On Sale – Listen Here

There’s a dizzying good new @carlstone album coming on May 20; it’s no spoiler to say that admirers of Stone’s jumpy digital pop fantasias should not hesitate. Steve Smith, Night After Night

Wat Dong Moon Lek is Stone’s latest distinctive, Characterful, and playful take on sound collage, a followup equal to 2020’s thrilling Stolen Car…There is an infinite quality to the work…much alchemy here, each track feeling fizzy and alive with potential directions. There are so many moments that make me want to dance, or stand up and applaud. It’s clever, effervescent and gloriously fun. – The Wire, June 2022 issue

https://unseenworlds.bandcamp.com/album/wat-dong-moon-lek

 

 

Full Review of HIMALAYA in The Wire’s December 2019 Issue

Carl Stone made the wise decision to split his latest creations over several releases.

Carl Stone Himalaya Unseen Worlds CD/DL/2xLP

 

It takes 35 minutes to reach the summit of Carl Stone’s new Himalaya. To arrive there, you ascend through manically cut up and overlaid Afrobeats, funk and hiphop grooves together with a tasty disco riff that reassembles the very molecules of your being. Then, having hit the apex, Stone throws you into idyllic freefall for the next half hour, into a balmy environment of slow moving and ethereal tones, music that is as voluminous and prayer-like as the opening part is compacted and hedonistic.

The relationship between Himalaya and Stone’s release from earlier this year, Baroo, mirrors that between Miles Davis’s Bitches Brew and In A Silent Way – the later album building on the textural and harmonic palette of all that went before, while clawing open fresh expressive possibilities. The opening piece “Han Yan” tells you what to expect as high-speed Afrobeats hallucinate on their own existence. Musically, two things are happening. Stone has the beats on intense fast-forward, while little microedits snip out crucial supporting notes in the harmony, which spins the music relentlessly forwards – it has no brakes.

A strutting rock beat kick-starts “Bia Bia” before it lurches towards ebullient chaos, with broken-up trumpet fanfares randomly puncturing the texture like Lester Bowie is wandering in and out of earshot. “Kikanbou” is grounded by a mesmeric disco beat that keeps rolling for 17 minutes, a motor around which auxiliary beats circle. Around the six minute mark, and for no other reason than he can, Stone suddenly turns everything upside down and inside out, and upside out and downside up, leaving beats coiling in other directions and soaring upwards. The world’s pop music has become putty in Stone’s hands. Each piece could, in theory, keep reassembling its particles infinitely. But Stone applies his composerly voice with a noticeably light touch, making conscious decisions about his material without ever suffocating its freedom.

Had he signed off after “Kikanbou” Himalaya would still have been exceptional, but the final glide through spacious textures and rarefied tunings – leading towards intonations from the Japanese vocalist Akaihirume – reconnects your soul with the stuff of sound itself as you ruminate on an epic journey, both exhilarating and affecting.

Philip Clark

The Wire December 2019

The Wire’s review of Himalaya, my latest release

Happy to report, The Wire’s review of Himalaya, my latest release, is pretty much a rave.


Excerpt: It takes 35 minutes to reach the summit of Carl Stone’s new Himalaya. To arrive there, you ascend through manically cut up and overlaid Afrobeats, funk and hiphop grooves together with a tasty disco riff that reassembles the very molecules of your being. Then, having hit the apex, Stone throws you into idyllic freefall for the next half hour, into a balmy environment of slow moving and ethereal tones, music that is as voluminous and prayer-like as the opening part is compacted and hedonistic.
The relationship between Himalaya and Stone’s release from earlier this year, Baroo, mirrors that between Miles Davis’s Bitches Brew and In A Silent Way – the later album building on the textural and harmonic palette of all that went before, while clawing open fresh expressive possibilities.

You can read the entire review here, or of course in The Wire’s December 2019 issue.

BANDCAMP:

https://unseenworlds.bandcamp.com/album/himalaya

https://unseenworlds.bandcamp.com/album/baroo

APPLE MUSIC

https://music.apple.com/us/album/himalaya/1473870763

https://music.apple.com/us/album/baroo/1452006426

Two Releases Now Out on Unseen Worlds


Two albums just released on CD. HIMALAYA, the newest of them (featuring title track with @akaihirume), is now out on CD and DIGITAL formats. BAROO joins the physical realm today on CD, as well. Both HIMALAYA and BAROO have delicious vinyl platters forthcoming. Please enjoy this first course… artwork by Sam Lubicz

“Stone makes music that can hit your ear holes like a DMT flash.”
– Richard Gehr, Relix

“Stone is still ahead of the game when it comes to his knack for discovering a world of music in a grain of sound.” – Julian Cowley, The Wire

“It’s another hall of mirrors but this time, its every surface is in a packed lysergic night club. Strings stretched, fragments jackhammer, and thick synthetic arcs swarm….Stone is on fire here” – John J Nicol, Obladada

https://unseenworlds.bandcamp.com/album/himalaya
https://unseenworlds.bandcamp.com/album/baroo

Latest Release Gets Picked by The Wire as Best Album of the Year 2016 (Archival Category)

wire-magazine-rewind-2016

“West Coast composer Carl Stone was one of the first to plug in to the possibilities of digital synthesizers, samplers and effects. Electronic Music included “Shibucho”, an audacious sample flip of The Temptations’ My Girl that connects Steve Reich’s Come Out to Chicago footwork, and two explorations of the possibilities of the Buchla synth. Julian Cowley said “While Grandmaster Flash and Afrika Bambaataa were flamboyantly promoting sample based hip-hop, and Joh Oswald was openly flaunting the art of plunderphonics, Carl Stone developed his own idiosyncratic take on sonic bricolage.”

go back to Press Clippings
go back to Recordings