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He’s a resident at the legendary  London creative hub Total Refreshment Centre, a recording artist for the  off-grid, Scottish Hebridean island label Lost Map, and now the latest  arrival into Chicago-based International Anthem’s growing family of  progressive musical explorationists. Whilst much of his music contains  vocals – often whispered imperatives – this is a collection of  instrumentals, drenched in feeling and recorded over four albums and  eight earth years in cities across the UK.  \u003cbr\u003e \u003cbr\u003e The music of \"To Cy \u0026amp; Lee: Instrumentals Vol. 1\" contains naturally  elegant orchestration wrapped around something visceral and primordial.  Swirled inside the 11 pieces are shades of Japanese Min’yo folk, Celtic  folk, the Ethio-jazz of saxophonist Getatchew Mekurya and hints of the  pan-human ‘ancient music’ that sat underneath Arthur Russell’s melodies  on First Thought, Best Thought. The music is filled with space,  inspired, he says, by computer games and Japanese animation,  particularly Joe Hisaishi’s\u003cspan class=\"bcTruncateMore\"\u003e soundtrack for Studio Ghibli’s Castle In The Sky. \u003cbr\u003e \u003cbr\u003e The record combines new compositions alongside bygone instrumentals and  understated lullabies that feel like they’ve been picked from between  the cracks of civilisation. These songs were collected from albums  \"Copernicus,\" \"The Jester,\" and \"Peach\" – under-the-radar records that  preceded his critically acclaimed 2019 release The Corner of a Sphere.  The new tunes feature Dan ‘Danalogue’ Leavers of The Comet Is Coming and  Sarathy Korwar alongside a host of London’s finest musicians. \u003cbr\u003e \u003cbr\u003e To Cy \u0026amp; Lee… has a suitably individual genesis. DePlume was working  for Ordinary Lifestyles, a charity in North Manchester which supports  people with disabilities to live in their own homes and to live  fulfilling lives. Specifically, he was working with the titular Cy and  Lee. His job was to get the guys socialising and he did this by making  up songs with them. They’d make up melodies together, humming tunes in  the house when they needed something calm, or when they were haring  round the city in a battered car. DePlume would record these impromptu  sessions in his phone, then go to the studio and use the material as  starting points for songs. \u003cbr\u003e \u003cbr\u003e He also ran music sessions for Cy, Lee and their friends. “People would  focus on a central point, tuning in to one another. There are things we  can’t put into words, which can be expressed with sound and music. These  guys have fewer words than us, some of them have none. When we put some  feelings into a music expression – that’s liberation.” \u003cbr\u003e \u003cbr\u003e It’s a method he uses in live shows wherever possible, placing himself  and the musicians in the round. The aim is to maximise the creative  benefits that a community of players and listeners can bring to the  music. It’s a collectivist and humanist approach to making music that  sits underneath everything he does. This is music made for a reason, and  those reasons include – to paraphrase some of the catchphrases he uses  both on stage and in conversation – mixing people up, asking everyone to  be as much themselves as they possibly can and the hardcore  encouragement expressed in his most popular line, shouted back at him by  audiences wherever he goes: “You’re doing very well!” \u003cbr\u003e \u003cbr\u003e Practically, he purposefully brings together players of different skill  levels and different backgrounds so they have to interact differently,  placing them in unusual situations in which to record. “I wanted to  destroy the idea of correct so we were playing it different ways for  fun. We had a very magical time playing the tunes”. This is activism  expressed through gorgeous music that breaks down barriers by  encouraging that most powerful emotion: connectedness.  \u003cbr\u003e \u003cbr\u003e One source of these gorgeous instrumentals is \"Peach,\" an album that  later bestowed a name upon legendary monthly sessions he’d run once he’d  moved to London. The music was recorded in the middle of the room at  Antwerp Mansion, around a big dinner cooked for 60 people.  \u003cbr\u003e \u003cbr\u003e “The dinner made the air vibrate in the way it did. We did it a certain  way, for fun, getting people to shout out instructions – ‘make it like a  hangover!’ ‘Make it like a barrel rolling down the ice!’ And we did it  that way. You’ve got people eating and drinking around you and they  might shout out anything. You can let go and respond.” \u003cbr\u003e \u003cbr\u003e The two new pieces were recorded at London’s now-famous Total  Refreshment Centre with Danalogue (on piano) Sarathy Korwar (drums),  Chestnutt (of Snapped Ankles, on synth), Donna Thompson (voice) and  James Howard (guitar). They had a day to record, and DePlume was in  post-gig exhaustion. His saxophone was as battered as he was and was  failing to play certain notes. “When something is broken or absent or  missing, you go around it and that’s what makes it good,” he says. “Then  it belongs to that moment. I want to make things that belong to the  moment.” \u003cbr\u003e \u003cbr\u003e DePlume’s politics might be more evident in vocal songs from his live  repertoire when he’s reshaping advertising slogans into a call to arms  or encouraging activism on “I Was Gonna Fight Fascism,” but his  commitment to the cause is as palpable through the instrumentals of Cy  \u0026amp; Lee... This is music designed to respond to what Russian  revolutionary poet Mayakovsky described as a “social command.”  \u003cbr\u003e \u003cbr\u003e “I like the idea that we’re not just doing frivolous decoration. We’re  doing work for society. I like to listen for what needs to be said.” \u003cbr\u003e \u003cbr\u003e “Years ago I played a bit of sax in other people’s gigs. I realised I  was waiting for someone to give me permission to do my own thing. I  noticed that no-one will ever give you permission to do your awesome  shit, because they don’t know what it is. It’s impossible for them to  give you permission. Who gave me permission to talk to you like this? I  gave myself fucking permission.” \u003cbr\u003e \u003cbr\u003e Alabaster DePlume is not doing things properly. 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