Pursuit of Ends High Pulp

• 1 Ceremony 05:40
• 2 All Roads Lead To Los Angeles 04:42
• 3 Blaming Mercury 03:34
• 4 Window To A Shimmering World 02:39
• 5 Chemical X 04:24
• 6 A Ring On Each Finger 06:34
• 7 Kamishinjo 03:21
• 8 Inner Crooner 01:39
• 9 Wax Hands 03:37
• 10 You've Got To Pull It Up From The Ground 04:32
• Total Runtime 40:42

Info for Pursuit of Ends

"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place."

Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion.While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpeter Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

Bobby Granfelt, Drums & Auxiliary Percussion
Rob Homan, Nord Stage 2, Moog Sub 37, Sequential Prophet-6, Grand Piano & Hammond Organ
Antoine Martel, Behringer Deepmind 12, Nord Electro, Korg Prologue 8, Moog Matriarch + Eurorack System, Moog Minotaur & Guitar
Andrew Morrill, Alto Saxophone
Victory Nguyen, Flute, Tenor Saxophone, Soprano Saxophone & Trumpet
Scott Rixon, Bass & Guitar
Featured Artists:
Theo Croker, Trumpet (10)
Jacob Mann, Lead Synthesizer (7)
Jaleel Shaw, Alto Saxophone (2)
Brandee Younger, Harp (9)
Additional Personnel:
Alex Dugdale, Tenor Saxophone (1, 2) & Bass Clarinet (2, 6)
Greg Kramer, Trombone (6)
Isaac Poole, Trombone (1, 2, 6)
Jerome Smith, Tuba (6) & Trombone (7)
Gehrig Uhles, Guitar (3, 5)

High Pulp
is an instrumental, Seattle-based collective.

It all began in 2017 when High Pulp emerged from a weekly “Funk Church” jam session at Seattle’s historic jazz club The Royal Room. It was here that High Pulp’s founding members discovered one another. An inexplicable force pulled the collective together to produce the high-octane jazz, funk, hip-hop, punk, psychedelic cocktail that soon became their signature sound.

In 2019, High Pulp’s orbit collided with three well-known Seattle-based R&B/soul artists - JusMoni, Falon Sierra, and Shaina Shepherd (BEARAXE) - bringing vocalists into High Pulp’s extended musical family for the first time. Each of these artists joined in writing and recording a track with High Pulp, and together the three tracks formulate the Light Fix EP (released Fall 2019).

Now, the story continues with UK-based label KingUnderground, who released High Pulp's debut full-length Bad Juice on deluxe 2xLP vinyl (Fall 2020) and who is also releasing Mutual Attraction.

Mutual Attraction is a trilogy of trilogies where each track is a cover performance intended to honor the original composition while also electrifying it true High Pulp style. In the way that music is a grand tapestry of past, present, and future threads woven together, the Mutual Attraction series explores what happens when an artist meditates deeply on the threads of their musical upbringing and reweaves them into the musical present, repeatedly asking the question: “What if?”

"High Pulp answers the new millennium’s post-trip-hop, -indie, -ambient, -drum & bass, etc. contemporary with vinyl sharp grooves, macramé arrangements, and session-level instrumentation" - Earshot Jazz

“There just aren’t many bands making music like this right now” - What’s Up! Magazine

This album contains no booklet.