This is a duology of records by the unconventional and unpredictable jazz (pop, classical, rock etc) musician and lo-fi recording legend Zach Phillips. At the time of this writing he’s best known as the co-leader of breakout jazz-pop-psych-improv group Fivel Is Glauque with singer Ma Clement. I first encountered his work as the boss of the now defunct tape label OSR, where his incredible skills as a producer and engineer with minimal 4-track equipment made him an underground legend. He’s involved in many of my favorite records from 2012-2016 or so.

These solo records embody the sound he’s developed from his first duo Blanche Blanche Blanche through ensemble work across the OSR discography and now in the large, rotating group that is Fivel is Glauque. In the spirit of his prowess as a bandleader and producer the records prominently features dozens of guest vocalists and soloists across all 42 tracks. Narration strings together the songs and highlights each guest as if a radio broadcast of classical music. It’s still a solo record and all songs and lyrics are written by Zach and most of the instrumentation is played by Zach, best known as a keyboard/clavinet player and guitarist. There’s a great deal of overdubs and I suspect there were minimal/single takes. 

The songs are very short and poppy with an intellectual and sometimes wry tone. A warm, lo-fi fuzz softens the always interesting, often dizzying instrumentation. All of this helps some very creative, very strange musical ideas go down relatively easily. At the very least these are two albums that are never boring for even a single measure.

In regards to the numerous guests I don’t really have a favorite. Still there are several that are near to my heart and make for pleasant surprises on these records. Naturally there are vocals from Zach’s duo partners Sarah Smith (Blanche x3) and Ma Clement (Fivel.) Kalima Trevors from blog favorite psych/pop group Rubblebucket makes a rare appearance on vocals and sax for an early and memorable track. I also find the features from west coast talents Genivive Artadi and Sam Wilkes to be amazing and poignant as their work, solo and in KNOWER with Louis Cole, is analogous to Zach’s own groups.

I love the concept behind these guest-heavy solo records and I love how they turned out. Despite the prodigious instrumentation, lo-fi recording and their restrained, muted tone, these are easily lovable and short pop songs. The charm and scrappiness of a true home recorded Bandcamp oddity is here alongside Zach’s own version of musical complexity and meticulous polish that rivals the greatest 70s/80s fusion albums. I bought both of these records on release and 5, 6, 7 years on and nothing quite sounds like Zach Phillips and none of his other work sounds quite like these first two solo albums. I highly recommend these records to any 4 track aficionado, fan of jazz fusion or outsider pop, or anyone seeking exceptionally creative music that won’t leave your ears sore.