Some bands form in garages and others emerge from deep underground scenes; Play Time, the Upstate New York trio, is clearly the latter, drawing inspiration from a rich tapestry of established musical worlds. While their sound may be new, the members bring an incredible wealth of experience, each steeped in distinct, fertile areas of music.
Drummer Booker Stardrum anchors the rhythm section, having played with jazz jammers SML. Moog player Ben Vida has a history rooted in minimalist ambient groups like Town & Country and post-emo projects such as fountainhead Joan of Arc. Completing the trio is saxophonist Will Epstein, who has collaborated with artists like Nicolas Jaar and Dave Harrington and has worked as a film composer. This diverse background ensures that Play Time’s sonic output isn’t just novel—it’s deeply informed by ambient textures, experimentalism, and singer/songwriter introspection.
With this unique collective experience, the band aimed to explore something entirely new for their debut album on the admirably esoteric Balmat label. The resulting work, Magical Object, is a masterclass in abstract yet grooving instrumental music that manages to feel both unfamiliar and deeply comfortable.
The blueprint of Play Time’s sound lies in the interplay between elements from disparate genres. Tracks like Wanderers and Waves Within Waves perfectly illustrate their approach: a loping Moog bass line from Vida sets the mood, linked by Stardrum’s deceptively tricky percussion—often favoring dropping-coconut toms and dry-riverbed rattles over traditional snares. Overlapping melodic drones from Epstein provide an atmospheric backdrop that instantly conjures classic sonic reference points.
The overall aesthetic immediately evokes the 1970s work of Terry Riley, particularly his collaborations with John Cale, as heard in the opener Open the Door, Joey, which features flowing, sedimentary melodies reminiscent of Riley’s “In C” but layered with a modern rhythm section. Meanwhile, the track Public Broadcast updates electronic rock pioneers like Silver Apples’ “Oscillations” for the streaming age, replacing older vocal styles with streamlined, pungent saxophone runs.
The group found its collaborative voice during sessions held at Tubby’s in Kingston, New York. This venue has become an unofficial national headquarters for a heady, eccentric, and easygoing scene that seamlessly blends jazz technique, electronic tools, and jam-band methods. The music of Play Time successfully navigates this fertile zone, offering a sound that is avant-garde without being atonal, adventurous yet accessible, and instantly recognizable without ever becoming derivative. They land squarely in the comfortable territory of modal psychedelia.
However, Play Time isn’t afraid to push boundaries. Occasionally, they venture into rougher terrain, demonstrating their ability to toy with dissonance. The title track features an intermittent cadence punctuated by hooting bursts, while songs like 22° Halo use phasing horn and synth lines to achieve an off-kilter, aching harmony. Even the frantic energy of Standing on One Foot proves they can swing with tension, showing that while they have found their groove, they are still actively putting in the work.
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Credit: Spin
