why we love this
Influenced by a nocturnal version of LA where things are murky and lurid, Nick Malkin serves us an LP filled with broken beats and eerie textures.
about the record
A Typical Night in the Pit is an album almost dedicated to Los Angeles, where artist Nick Malkin finds himself absorbed in the density and chaos of the urban complex. Not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph— overheated, tense, hazy, frayed— with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures.
Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.”
- 1 - Intro/Exchange 2:06
- 2 - Sixth Street Conversation 2:10
- 3 - Through a Rain-Streaked Window 5:55
- 4 - Secondhand Identity 1:56
- 5 - Into the Light '93 2:30
- 6 - Some KJAZZ Eternity 2:11
- 7 - Estacionamiento Privado 2:37
- 8 - Perfect Terminal 3:43
- 9 - View From Two Perspectives 9:27
€24,00
out of stock
- 1 - Intro/Exchange 2:06
- 2 - Sixth Street Conversation 2:10
- 3 - Through a Rain-Streaked Window 5:55
- 4 - Secondhand Identity 1:56
- 5 - Into the Light '93 2:30
- 6 - Some KJAZZ Eternity 2:11
- 7 - Estacionamiento Privado 2:37
- 8 - Perfect Terminal 3:43
- 9 - View From Two Perspectives 9:27
why we love this
Influenced by a nocturnal version of LA where things are murky and lurid, Nick Malkin serves us an LP filled with broken beats and eerie textures.
about the record
A Typical Night in the Pit is an album almost dedicated to Los Angeles, where artist Nick Malkin finds himself absorbed in the density and chaos of the urban complex. Not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph— overheated, tense, hazy, frayed— with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures.
Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.”
