Maston: Panorama (KPM) LP

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the '70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips (BEWITH 087LP, 2020) and Darkland (BEWITH 096LP, 2021). Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers. In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records -- but he was super keen. Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasized about committing to a record with no distractions, with a proper budget, access to his gear and space to work in -- to really dig in and try to write and arrange the best work he could possibly make -- it was a real "be careful what you wish for" moment. He spent seven months on it, working almost every day. Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Maston's sleek retro-groove instrumentals emulate the classic KPM "Greensleeve" reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony (BEWITH 041LP), Maston's Panorama could be heard as that record's funky follow-up. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations. Features vocals by Molly Lewis, Eli Ghersinu of L'éclair, Pedrum of Allah Las/Paint, and more. Mastered by Simon Francis, cut by Pete Norman, and pressed at Record Industry.