Robert Stillman is a composer and multi-instrumentalist from the northeast United States. His music juxtaposes the archaic with the futuristic, incorporating influences of jazz, minimalism, American folk music, and experimental electronic music to create a sound described by the Guardian Observer as “lending an avant-garde shimmer to pre-modern American sounds.”
We've worked on various projects with Robert over the years, the latest of which is 𝑺𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝑨𝒃𝒐𝒖𝒕 𝑳𝒊𝒗𝒊𝒏𝒈: an album of live recordings, from his recent tour of the states, supporting Thom Yorke's The Smile. You can read more about that, and his other records, below.
𝑺𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝑨𝒃𝒐𝒖𝒕 𝑳𝒊𝒗𝒊𝒏𝒈 was captured over the course of Stillman’s time as the solo support act for The Smile (Thom Yorke, Jonny Greenwood, Tom Skinner). The album weaves excerpts from various theater and arena shows along the tour’s North American routing into a seamless whole, creating a 40-minute program that represents an expanded version of Stillman’s ever-transforming live set.
Something About Living is the product of a steady, on-stage evolution that happened over the course of the nearly 60 shows opening for the Smile across the EU, UK, US, Canada and Mexico. However, the creative origins of the set began in relative isolation during the pandemic, through Stillman’s work on projects like his multi-media installation Unseen Forces and his monthly broadcast for Margate Radio, both of which drew upon solo improvisation using saxophone, cassettes, Yamaha DX7 synthesizer, and effects.
“At the time The Smile asked whether I’d like to open for them on their first tour, I felt like I’d already been preparing without really knowing it,” says Stillman. “I’d been doing this music constantly, but always for a hypothetical audience” During the pandemic, Stillman’s solo set-up served as the research lab where he worked on all the concepts he was interested in: solo improvisation, creating and manipulating cassettes, FM synthesis, analogue delays chains, no-input mixing, and non-metric rhythmic pulses. So when he was offered the first Smile tour, the idea was to bring “the lab” onto the stage.
What Stillman could not have prepared for was the experience of playing in venues with capacities of up to ten thousand listeners. “The first tour was in summer 2022, so not that long after the worst of the pandemic, when I had pretty much made peace with the idea that I might never be able to perform for an audience again. Then all of a sudden I found myself in front of huge numbers of people, and felt the massive responsibility of being with an audience, of this thing I’d done alone for so long actually being witnessed, and it was completely overwhelming!” On the flip-side, Stillman also recalls, was a new appreciation of how powerful the live performance was as a social phenomenon. “It’s a cliche, but also true: the moment of making and hearing music in a shared time and space has a very specific meaning and power; there was a sense that everyone in the venue was necessary to make it real, regardless of what they were doing, or how they felt about it. There was an inevitability about it that I’d never fully appreciated.”
Over the course of the tours that followed, Stillman transformed this appreciation of the shared moment into an ethic of spontaneity that guided the development of his live set. “An important reference for this set has always been an Animal Collective show I saw when I first moved to New York, probably in 2001 or so, that has always set the high-water mark for what I wanted to do live- they were improvising a lot, and out of what would seem to be absolute chaos they’d find their way to something structured, and then back out again into the unknown. It was so thrilling to witness”.
Though Something About Living compiles recordings from different dates along the tour, Stillman has edited and mixed them into a work that seeks to reflect the ebb and flow between ‘chaos and control’ that characterizes his live set. Among the compositions featured are some from previous album releases (“Time of Waves”, “What I Owe”, “What Does It Mean to be American”) as well as some new compositions (“The Dream of Waking”, “Renaissance 2.0,” and the title track, “Something About Living”).
The album/track title “Something About Living” is a reference to a line from Stillman’s favorite film, My Dinner With André: “André Gregory is explaining the value of life experiences that, as he says, are ‘to do with living’. That really struck me, the way he articulated it. I strongly believe live music situations can ask these kinds of questions, for performers and audiences. I hope that’s reflected in this music.”
What Does it Mean to Be American?
What Does it Mean to Be American? is Robert's eighth solo album. Performed, recorded and mixed with a Prince-like versatility, the album takes in elements of jazz, drone, funk, blues, psychedelia, new age & chamber music across its seven tracks.
On the opener 'Cherry Ocean', we are treated to Robert's voice for the first time ... the effect is like a lost, sombre Beach Boys demo, with Brian Wilson talking us through the aftermath of a weekend spent in the French Quarter of New Orleans. What follows loops from glass-clinking, freeform jazz ('It's All Is') to angular, rhodes-heavy funk ('Self-image') and dub echo-drenched piano blues ('Acceptance Blues').
As with much of Robert's music, unexpected swerves and gear shifts are never far away; this is partly due to his improv-driven tape bricolage recording process, but also a wilful defiance to adhere to any particular genre. This fluid, unpredictable approach dovetails perfectly with the subject matter of Stillman's national identity crisis. Nothing is quite as it seems, as oddly rousing militaristic psychedelia, morning reveilles and mountain blues are dismantled in the melting pot.
Perhaps most remarkable is the size of Robert's sound on American? - a one-man studio has no right to conjure scenes so raucous and convivial. And it's at these half-dreamt fraternal moments, where Stillman seems to touch directly at the tragic, optimistic heart of his question.
Recommended if you like Ornette Coleman, Milton Nascimento, John Fahey, Allen Toussaint.
Robert's much-loved, homespun collection of Fender Rhodes improvisations receives the vinyl treatment.
Recorded to tape in the solitude of Robert's Kent studio, Portals is truly a candid window into the trance-like process of making: melodies, ideas and themes are added folded, concealed and revealed like layers of paper and paint, combining to form an intimately transportive sonic mural.
Most startling are the shifting voices of the Rhodes - from careening, glassy pads to strident basslines, curveball jazz breakdowns or kaleidoscopic marimba flutter. Keys players take note: Portals is a masterclass in restricted virtuosity. Quite how so many worlds are conjured from one instrument across the 35 minute duration of this record, we're not sure.
Recommended if you like Beverly Glenn-Copeland, Arthur Russell, Kali Malone. This vinyl edition of Portals features a previously unreleased track, 'PORTAL 8'.