"The song "Flute / Overture," opens Rabiah Kabir's Jezebel: Rewritten with a jazzy thesis statement. Birds chirp, shakers shake and keys resonate as the flute's flow intertwines with comments about the historical importance of the instrument and the artist's work to dispel sexist notions about flutists. With the support of a full band, Oakland's Kabir shows a range of a flute's sonic capabilities."
"The field recordings that populate Kathryn Mohr's Waiting Room - self-recorded in an abandoned fish factory in Iceland - give a sense of isolation and melancholy, capturing the anxiety of anticipation. Mohr builds on those recordings using an analog synth and aching vocals, creating subtle, pinpoint-precise melodies. Following the oneiric opener "Diver," dissonant tracks weave between guitar-driven, '90s grunge-inspired pieces."
Rabiah Kabir employs the flute across varied textures, pairing jazzy motifs, bird and shaker accents, and full-band arrangements to showcase the instrument's range and to counter sexist flutist stereotypes. Tracks move from mystical wind passages to funk-infused moments and culminate in an anxious-to-relaxed arc highlighted by a soothing flute run. Kathryn Mohr uses field recordings captured in an abandoned Icelandic fish factory alongside analog synth and aching vocals to create isolation and anticipatory melancholy; dissonant, guitar-driven passages and gentle vocal lines probe beauty in decay and invite listeners to sit with discomfort without guaranteed catharsis. Michael Sneed's floaters at the buzzer! opens with an insistence that the record be consumed in full, with crooned guidance.
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