© Robert stillman 2018
“Stillman is a composer with an innovative way of rethinking a creaky, generally neglected strain of Americana” UNCUT
“Stillman exhibits an enviable aptitude for quiet experimentation in his compositions, testing boundaries and taking subtle chances without alienating his audience.” DUSTED
Robert Stillman is a composer and multi-instrumentalist from the northeast United States. His music juxtaposes the archaic with the futuristic, incorporating influences of Folk Americana, Jazz, Minimalism, and experimental electronic music to create a sound described by the Guardian as “lending an avant-garde shimmer to pre-modern American sounds.”
Stillman has released 7 albums of his music, the most recent of which, Rainbow, (Orindal Records) has received praise from Mojo, Aquarium Drunkard, Other Music, and Jamie Cullum (BBC2).
He has performed his music at venues and festivals throughout the US and Europe, both as a solo act, and with his brass, organ, and percussion ensemble, The Archaic Future Players. He has supported bands such as Deerhoof, Yo La Tengo, Dirty Projectors, and Casiotone for the Painfully Alone/Advance Base. He has also collaborated with visual artists Mark Garry, Sarah Magenheimer, and the Borbonesa publishing group.
The diversity of Stillman’s music reflects his varied musical life, which started with saxophone lessons in his native Portland, Maine at 11 years old. A move to Boston to study jazz introduced him to formative teachers (George Garzone, Danilo Perez, George Russell), as well as to like-minded colleagues with whom he’d later collaborate, including future members of bands like Glass Ghost, Dirty Projectors, Caveman, and Here We Go Magic. Upon arriving in New York in 2011, this circle of musical colleagues widened to include new collaborators like Luke Temple, Chris and Kurt Weisman, and members of the band Grizzly Bear. Since relocating to England, Stillman has worked in bands led by Kit Downes, Tom Skinner, and Liran Donin. He is also a member of the collaborative audio-visual ensemble Bog Bodies, which recently completed a residency at the Model Arts and Niland Gallery in Sligo, Ireland.
Selected press (click on titles in red to see full clipping)
“Stillman sounds as if he’s drawing on a deep reserve of sacred conviction.” AQUARIUM DRUNKARD
“Like the celestial phenomena of its title, the power of Rainbow is in Stillman’s ability to bridge the album’s weather-beaten foundations with elegant surges of brightness and colour. A remarkable achievement. ★★★★” MOJO
“An arcane and lovely piece of work…Stillman is a composer with an innovative way of rethinking a creaky, generally neglected strain of Americana” ★★★★ AQUARIUM DRUNKARD
“The US composer and mult-instrumentalist presents a brass-and-percussion requiem for John Fahey, which marches, staggers, waltzes, and floats with a euphoric, drunken dignity." (★★★★) MOJO
“(Station Wagon Interior Perspective) is a tibute to guitar soil master by another American londer-visionary… Stillman has been chipping away at an ornery, creaky vision of American 20th-Century fantasia, taking in the drunken lurch of late-night big band, the irrepressible freedoms of Charlie Haden’s Liberation Music Orchestra, and the visionary freedom of outsiders like Charles Ives and Harry Partch (8/10)" UNCUT
“Composer Robert Stillman’s sublime latest transmission sets wordless one-man band pieces conjuring a quaint Americana against mechanical collages…Like drifting off in a saloon bar reverie and waking up beside a locomotive engine. (★ ★ ★ ★ )" MOJO
“Stillman takes over-familiar totems of Americana asks you to hear them afresh.” THE GUARDIAN OBSERVER
“Machine’s Song is a creaky, uncanny music that creates an impressionistic picture of old America” – UNCUT
“Listening to Robert Stillman’s extraordinary Machine’s Song is akin to stepping inside some half remembered dreamworld inhabited by fairground organs, player pianos and other antique musical automata.” – SHINDIG’S HAPPENING MAGAZINE
“It’s beautiful music that engages both the emotions and the intellect, and seems to exist at least partly in the shadows of memory, which is, perhaps, a bit part of what makes it such a rousing delight.” – THE HURST REVIEW
“At its foundation, Stillman’s work evokes images of bar brawls, oncoming trains, and wild gesticulations, but the loving romanticism of his narratives is infused with experimental touches that both examine and repurpose the legacy of early American music.” – THE PORTLAND PHOENIX
“Wonderfully sympathetic music that has the feel of Glass or Reich, whilst retaining an organic warmth.” – THE THE TERRASCOPE