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Spirograph Studies | Kindness, Not Courtesy

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Jazz: Contemporary Jazz Avant Garde: Experimental Moods: Type: Soundtrack
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Kindness, Not Courtesy

by Spirograph Studies

Cinematic, instrumental music, post-jazz and post-rock This group conscientiously exists in the crossroads between improvisation and composition, stylistically drawing on a vast number of influences.
Genre: Jazz: Contemporary Jazz
Release Date: 

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  Song Share Time Download
1. The Opposite of Afar
6:38 album only
2. Schrödinger vs. the Cat
5:57 album only
3. Gospel
9:58 album only
4. Kindness, Not Courtesy
5:41 album only
5. Time to Be Still
7:49 album only
6. R & R
5:11 album only
7. Gromp City
5:09 album only
8. M31
7:01 album only
Downloads are available as MP3-320 files.


Album Notes
Spirograph Studies have leapt onto the Australian music scene with their detailed, textural approach to playing improvised music. Post-rock, post-jazz and post-minimalism, they shamelessly steal sonic palettes from all areas to build their cinematic sound.

This collaborative group features Luke Howard (piano), Fran Swinn (guitar) & James McLean (drums). This strong collection of music-makers each bring their unique voice to the stage as part a united front led by bassist Tamara Murphy.

Murphy was awarded the inaugural PBS Young Elder of Jazz Commission. She ran her group Murphy’s Law for 14 years and was also a member of the Keller-Murphy-Browne co-operative. She features on multiple releases and her albums have been nominated for The Age Genre Awards, AIR awards and The Bell Awards.

Spirograph Studies:

Tamara Murphy bass
Fran Swinn guitar
Luke Howard piano
James McLean drums

Recorded at Pughouse Studios by Niko Schauble in Melbourne, December 21, 2017 & June 25, 2018
Mixed and mastered by Joe Talia at A Good Mixture Tokyo
Front cover image - Cameron Robbins, “21hrs, Dry Cool SW, Flinders St”
Photo - Hans-Jørgen Jahr
Layout and design - Hans-Jørgen Jahr
Luke Howard appears by courtesy of Decca Music Group Limited

"...an exploration of timbres and textures in a way that was tonally and percussively rich – even luxuriant at times."
Roger Mitchell
"...truly dream-like sequences"
John McBeath
The Weekend Australian



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