Subbacultcha | Ben Vince
Ben Vince’s sixth record mergers acoustic, manipulated and electronic sound with saxophone, synth, voice, guitars, a drum machine, and a drum kit from Moses Boyd. Its artwork is done by Byzantia Harlow. At once tender, psychedelic and fierce, it is not interested in genre or category.
A prelude to the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia’s rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.
Ben Vince is a striking composer and performer, known for his live improvised saxophone explorations and inventive techniques in creating new rhythms, textures and moods. Through live improvisation, sonic manipulation, reprocessing and looping, his spontaneous yet intuitive approach and collaborative nature surpasses the seeming limitations of his primary instrument. His energetic and immersive solo shows encapsulate an artist at the height of their powers and is now a prominent player among a new breed of experimental artists, as well as having performed with improv ritual EP/64, Charles Hayward, Coby Sey, Valentina Magaletti and part of experimental post-punk band, Housewives. Vince has also notable studio collaborations with electronic producer Joy Orbison, Oscar-nominated experimental pop artist/composer Mica Levi, and many others spread across the musical spectrum including El-B, Astrid Sonne, Sugai Ken, Louis Carnell (fka Visionist), Mark Sanders, Alpha Maid, Gigi Masin, Rat Heart, Cucina Povera and Moin.
