Mayville Dream cover art

SP 027 / Quicksails

Mayville Dream

  • 1.1. The Many Roads Towards Mayville
  • 1.2. Institute's Innards
  • 1.3. As High Above the Lightning
  • 1.4. Only Escape
  • 1.5. Bemus Has Wings to Fly
  • 2.1. Closer to Tonawanda
  • 2.2. Night Bats
  • 2.3. Dancing By Yourself
  • 2.4. A Late Realization

Ben Billington is a resident Chicago staple and multi-instrumentalist crucial to the Metro area experimental landscape. He can morph his styles seamlessly and is fluent in many musical languages, wether he's playing in Moonrises, Circuit de Yeux (as a touring drummer) or in the legendary underground free-jazz unit Tiger Hatchery. "Mayville" is the sophmore LP following his "Silver Balloons in Clusters" LP on Under the Spire (while originally released as a cassette on Deception Island some time ago.)

With "Mayville Dream", it's all Billington and the results are outstanding. Taking from every direction and experience his knowledge and songcraft, Billington has crafted a well-varied album of instrumental suites that are as eclectic as they are eccentric. Being primarily trained as a drummer, various kinds of percussion appear throughout with many rhythmic angles that accent the intricate melodies and structures to make them truly unique. The opener "The Many Roads to Mayville" opens with a concrete flutter before doing a complete 180 into a total color storm of melody and syncopated percussion. "Institutes Innards" flips the mood right away with its deep urgency and melodies that demand introspect. Tracks like "Bemus Has Wings to Fly" and and "Closer to Tonawanda" display an ability to thickly layer pieces and parts to make a logical whole while displaying elements of early psychedelic rock and with the knowledge of early private sides in tow. "Mayville Dream" has a special impact because you hear Billington stretch himself out over every playing style he knows and beyond to create something that's all his own.

Mastered by James Plotkin
Cut at Dubplates & Mastering, Berlin
Layout & Design by Sam Kahn

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