West Kensington, by Mary Lattimore & Paul Sukeena

West Kensington

by Mary Lattimore & Paul Sukeena

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verlynn74 Love the music, the production, and it's also an example of the cover art enhancing the overall vibe. I like how each part impacts my space when I play it.

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You too will have dreams of Alice Coltrane jamming with a copy of "Apollo" by Eno/Eno/Lanois when you listen to Mary Lattimore & Paul Sukeena collaborate. "West Kensington" is presented on 140g black vinyl pressed by Furnace Mfg. in Virginia and ready for your enlightenment. Housed within mysterious artwork.

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Full Digital Discography

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of No Hashish, No Change Money, No Saki Saki, Almanac Behind, Headdress (20th Anniversary Remaster), Eli Winter, West Kensington, Warping All By Yourself, In/Out/In, Sycamore City & Other True Stories, and 116 more. , and , .

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1.	Hundred Dollar Hoagie 07:30	buy track
2.	Flaming Cherries Jubilee at Antoine's 06:58	buy track
3.	Altar of Tammy 07:58	buy track
4.	Didn't See The Comet 06:03	buy track
5.	This Time Juliane Landed Softly 04:36	buy track
6.	Garage Wine 08:59	buy track

about

It is shocking what your mind will choose to forget. Almost always it needs a tear, a clean dash, a straight passage into what you've already known. Looking back, West Kensington has achieved that very goal: creating a landscape for memory, an imprint of that horizon, suspended in the cosmos.

I heard it in real-time, percolating against our shared apartment wall. The assembly of sounds was a comfort; a welcome change during what felt like a fresh era entirely. Like the comets we see every so often, it's the streak of some long-ago awe that we try to comprehend. So much space, so much reach and so far; so much weight hanging in the dark sky. And the reasons we missed the comet - and why - become the moments we remember most.

Welcome to The Unknown. “Hundred Dollar Hoagie” is a slap across the face, our new normal. The weight of Lattimore’s harp is our hull, her tones steadying the ship’s course. Sukeena’s guitar is our intrepid guide, as terrified as us. All at once, the things that seem so familiar, appear so far away. The mid-record swells for “Didn't See The Comet” like a hall pass for a coastal drive. The chimes in “Flaming Cherries Jubilee at Antoine's” tell us it’s going to be OK. Permission to land has been granted. The ambient noise dissipates and like a futuristic prelude to Koyaanisqatsi, the chords of the harp conjure a feeling of togetherness and intentional greeting resembling Philip Glass after loads of red wine. These are the tiny holes in the dark.

…Time as a constellation.

A constellation is only recognized when its stars are aligned: those bright spots, seemingly neighbors beside each other, yet billions of miles apart. The matrix of light is abstracted and creates a new name. What if our memories did the same? Our stained fingertips made stained fingerprints on our foreheads from the garage wine we made together. The cosmic blue-tipped crest of the waves on that warm night, all aglow but not for us. Our memories as gas giants, fleeting supernovas that when glared at, only become more intense and abstract.

In “Altar of Tammy”, the sky sinks to indigo and we know there will be another one of these days. Sukeena lets his guitar drone…reminding us of this truth. Like a forced smile, Lattimore swings her notes where our hearts want to go: there can’t only be darkness - there can’t only be smoke. We can’t be the only ones in this expanse, gaze fixed. There is an absence of ‘noise’ here, aside from the click of a pedal. Where did we go in 2020? What did we do? Why did we cry together, on the porch, looking out? On the days we couldn't go outside, West Kensington is proof there was music created and it felt like something real; and the jacaranda tree had a soundtrack to drop its leaves to.

…Things had better work here, because here is where we run out of space.

As we reach the end of the journey, “Garage Wine” arrives. Here is a glimpse of hope and a nod to the freedom we never saw coming. We traveled so far and have reached the edge only to realize that there was never a map. We were only using our gestures as directional guides, our hands moving toward one another in hi def. Using these earthly makings of strings and tubes, West Kensington takes us to that cosmic latitude of memory, and the ride is a healing one. As it goes with the passing comet, the songs are a reminder that we are here, making those vibrations into nothingness together. And it is brilliant.

-Nicky Devine, 2022

credits

released May 20, 2022

Mary Lattimore plays harp and synthesizers.
Paul Sukeena plays electric guitar, mellotron, Old Style rubber bridge.
Recorded at home in 2020.
Mixed by Jeff Zeigler.
Mastered by Carl Saff.
Back photo by Ryan Noon.
Design / layout by D. Norsen.

Thanks to: Francis Cardinale for lending his synths, Angel Olsen for lending the mellotron, Nicky Devine, Cory Rayborn, Jeff Zeigler, Carl Saff, Brian Foote, Craig McQuisten and Kristin Anderson, Devin and Ian, Bob and Jamie Chisholm, Brian Riegel, Ryan Noon and Alex Brookhart, Steven Urgo, Jess & Tui, Emily & Amelie, Nick Fisher & El Prado, Hail Mary Pizza, Joe DeNardo, and most of all Al & Jenny.

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Three Lobed Recordings Jamestown, North Carolina

Three Lobed Recordings is a boutique record label that specializes all flavors of psychedelia. The label was started in 2000 and is largely operated by cats.

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West Kensington

by Mary Lattimore & Paul Sukeena

Streaming + Download

$6 USD or more

Record/Vinyl + Digital Album

$21 USD or more

Full Digital Discography

$330.05 USD or more (65% OFF)

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West Kensington

by Mary Lattimore & Paul Sukeena

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Streaming + Download

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Record/Vinyl + Digital Album

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$330.05 USD or more (65% OFF)