All songs written by Michael Abbey and Adam Klein

Michael Abbey - vox, bass
Adam Klein - vox, guitar, keyboards

Curtis Boysen - drums
Thomas Fagan - additional drums (track 7)
Cameron LeCrone - percussion (tracks 3 & 11)
Henry Myers - cello (track 3 & 4)

Engineered by The Island
Additional engineering by Ben Carver at Studio Media
Mixed by Adam Klein
Mastered by Carl Saff of Carl Saff Mastering

Art direction by The Island and Joaquin Verges
Art by Joaquin Verges

Liner notes:

Ideas of March slips into the subconscious like an assassin’s Caesarian knife - equal parts disruptive, shocking, transcendent. It is prudent to be wary when approaching the work of The Island, (brainchild of bassist Michael Abbey and multi-instrumentalist Adam Klein), as they will not guide you stylistically to a single answer. Connecting the dots in the maelstrom of influence for these artists is a bit like shooting an arrow during a hurricane - once loosed, it becomes impossible to predict the final destination of its flight.

Evoking equal parts Brian Wilson and Sun Ra, the kaleidoscope of timbres that present themselves on “Ideas of March” encapsulate a new era of artistic psychedelia. “Neigh” begins with Abbey’s persistent bass ostinato, layered with ethereal winds and punctuated by Blue Note-era drum samples, before disintegrating into a languished drone as much Terry Riley as Kevin Shields. “Pure Energy” features angelic vocal counterpoint reminiscent of “Pet Sounds” era Beach Boys, yet accented by the jagged angularity of Klein’s guitar motifs. The harp laden introduction of “You Are Free” begs comparison to the solo work of Noah Lennox, while retaining a sense of twisted-Hollywood nostalgia totally its own.

The influence of the avant-garde (in particular linear jazz visionary Alice Coltrane) abounds in the record. “Canopy”, “Ideas of March”, and “The Engagement Rocks” exist in a bipolarity between Neu!-era Krautrock and the abandon of modal Miles Davis. Simultaneously mechanical and organic, the contradiction of styles creates a soundscape both timeless and transient. “Dennis Wilson” (a blatant nod to 60’s sunshine pop) features the most traditional song structure of the album, while still retaining a fervent dedication to mechanical percussion. “Someway” follows suit and manages to squeeze moments of total formal abandon within it’s concise running time. “But More So” is an all out rhythmic assault, utilizing production methods evocative of Reich’s “Piano Phase.”

- Cameron LeCrone