Partner’s influences pull from Canterbury bands such as Egg and Soft Machine, eclectic progressive rockers Curved Air, Van der Graaf Generator and Roxy Music, the synth pop experiments of Todd Rundgren, Annette Peacock and the instrumental expeditions of This Heat and electric-era Miles Davis.

Partner (Chicago) began in 2013 as a celebration between musicians. The project developed into an exploration of rhythm, textures and genres. The songs are built upon Libby Ramer’s compositions using keyboards, vocals and effects, and feature the mercurial and multifaceted drumming of Ben Billington, noir bass from Alex Nova and free form saxophone from Christmas Woods. Experiments with phrasing and form were arranged to best express the emotions of each song, and recording engineer Cooper Crain [Cave, Bitchin’ Bajas] greatly assisted in bringing these tones to canvas. Whitney Johnson [Matchess] appears on Drang and Six A.

Recorded over 2014-15, Partner’s ‘Green to Gold’ was set aside for years following production. In 2020, Partner band members reconnected virtually to collaborate on the album details, welcoming a new team member in designer Drew Ryan [E.T. Habit, Courtesy]. The end result is truly a labor of love. The album feels immediate and immersive.

Ramer and Billington [Quicksails, ADT, Tiger Hatchery] previously collaborated in moody avant-prog trio Moonrises, while Nova [The Frog Rider, Order of Night] and Woods [Mickey] emerged from progressive punk outfit E.T. Habit. Later incarnations of Partner featured free jazz saxophonist Carlos Chavarria [ADT].
Partner’s songs make room for the unique voice of each instrumentalist, showcasing communication and connection through music, whether synchronized, cacophonous or in shared silence.

‘Green to Gold’ is also an alchemical journey, with references to the natural world, mysticism and transformation.

The cover art by bassist Nova, Two of Cups, painted in 2014, references the tarot card symbolizing emotional exchange and harmony from disparate parts.

How did you first get interested in music and what can you tell us about some of the early influences?

Libby Ramer: Being from Michigan, I loved Motown and just appreciate a good pop song. I think the first listening experience that really blew me away though was Thelonious Monk. Hearing him play with space and rhythm, hitting the off notes—it sounds tame to me now, but it sounded totally anarchic to me at a young age. The intersection of rhythm and keys, and unexpected rhythmic variations, has always fascinated me and I think that idea carries into some of the music that I like and attempt to create.

“I wanted to traverse as much territory as possible”

I was completely blown away by your project Partner. What was the main idea behind it?

Thank you! For the album, I wanted to traverse as much territory as possible—mixing tones, sound experiments and more straight-ahead, but still experimental, pop songs. I was thinking about some of the concept albums that Peter Hammill, Todd Rundgren or Faust made.

While I wanted to pay homage to Canterbury bands and some other favorites, the members of our group have such strong personalities and musical styles that I think the album is very much its own thing. Ultimately, I think it’s a celebration of making adventurous music together. Bringing unique sounds together, bringing unique people together.

Who are other members of the band?

Ben Billington is on percussion. In a way, many songs on the album were written for him. His playing is incredible on this album, and always is, really. He’s the type of musician that will catch you if you fall—it’s very hard to make a mistake playing with him, as he is so adaptable and generous in his style. He makes everything breathe and sparkle with his energy. I specifically wanted the drums high up in the mix, and the songs really benefit from that. I’ve been fortunate to play in two projects with him so far. He has many collaborations, and he also works under the moniker Quicksails.

Alex Nova is on bass. He is also an artist and poet, painted the album art and gave the album its title. I think some of the more surreal vibes of the music come from his presence. He is also playing the amazing surges of sound on the track ‘Wilds’. He has many highly conceptual solo projects and is just an effortlessly creative force and inspiring person.

On saxophone is Christmas Woods. His playing is intuitive and free, but also thought out. I think his performance on the album brings both passion and levity. He’s a free spirit with a great sense of humor.

There aren’t many records out there that come close quality-wise to Soft Machine and the likes, but I truly think you did an outstanding release with ‘Green to Gold’. What can you say about the creative process for it?

Thanks, again! The creative process started with me playing around with tones and chords that I felt were healing. I was processing a difficult experience and I wanted to submerge myself in music to transmute these feelings. Prog music is very transportive. I was listening to enveloping music like Van der Graaf Generator and Soft Machine and many other bands that felt warm and familiar to me. I sampled Caravan’s ‘Hello, Hello’, for the Partner album and it was a very cool moment when I captured it and was able to play along to it—like entering the song.

So, it was kind of an emotional, serious, immersive and cathartic process, which ultimately became quite joyous once I invited these amazing musicians into the mix. I think there’s an aspect of that intimacy and the seriousness that’s still in there, despite all the fun we’re having playing.

Was it difficult to get compositions ready? The album itself is quite complex.

It was much easier with Cooper Crain at the helm. I had a pretty clear idea of what I wanted the end result to sound like and he helped us get there. He contributed so much to the process—more than I’ll ever know, I’m sure! He was very patient and inspiring. We recorded the base tracks in a few days, and though I would have loved an unlimited amount of time to play around with ideas, he helped us pack in as much as possible and really cared. Cooper was also very active engineering tracks such as ‘Wilds’ and ‘Ylangly’ and had some elegant tricks up his sleeve to help us bring out new dimensions of the songs.

The compositions are a few years old and were only recently released on vinyl via X! Records. Did you have difficulty finding a proper label or?

We did. There were a few comments from labels not knowing what to make of the album. We had an offer to put it out digitally, but we wanted it to be released on vinyl. We were then going to release it on a local Chicago label, but I didn’t think it was the right time, and soon after, that label folded.

After that, we moved on for a few years, all doing our own thing, though we still considered the album something special. When Alex and I reconnected in 2020, it was kind of a playful decision to shop it around. I was excited when Scott at X! said he wanted to release it on vinyl because I knew he got the music. He has a sweet roster of bands he has curated on his label, all seriously creative artists. He’s also super talented in his own right and has been incredibly supportive.

Can you share some further details on how your latest album was recorded?

We asked Whitney Johnson if she would contribute to the album and she did, which was an honor. She recorded viola on ‘Drang’ and ‘Six A’, just dropped by and pulled it all off. She has an amazing ability to jump in and elevate a song and then carry along on her own super unique frequency. She makes her own music and sound art as Matchess—very recommended.

As far as some of the recording specifics, Cooper Crain is very skilled at using analog technology and the songs were captured on a lot of vintage gear at a boutique Chicago studio. We’re all music obsessives who love the 1970s sound.

<a href="https://xrecords.bandcamp.com/album/partner-green-to-gold-x-024">Partner – Green to Gold – X!024 by X! Records</a>

Who did the cover artwork?

Alex Nova painted the artwork, Two of Cups, back in 2014. The tarot card that the cover artwork is referencing traditionally features two figures facing each other in celebration. Above them, is the caduceus of Hermes.

In Alex’s piece, he really illustrates the unexpected, expansive and gorgeous result that can emerge from union. The idea really suits Partner, representing worldly connection, and the more cosmic, alchemical process of combining disparate elements. It’s an amazing piece.

Drew Ryan did the design for the sleeve and brought out this magical and whimsical element that blew me away. His work infused the music with a new energy. It also reminded me how much energy and imagination we put into these songs. It’s such a beautiful layout!

What kind of gear do you have?

On the album I used an electric keyboard, Moog synthesizer, piano, sampler, various pedals, a drum machine and some general noisemakers.

You’re also behind Moonrises, a band that released two albums.

Moonrises was a very special project to me, and I don’t think it quite sounds like anything else. I was on the Farfisa organ and we had Steve Krakow (aka Plastic Crimewave) on guitar and Ben Billington on drums. We were a very loud band and played a lot of wild basement shows, but on our albums we really tried to make cohesive psychedelic rock. It was progressive in its own way, but more punk than Partner, noisier and occasionally somewhat raw. We were on a few local labels which have since packed up shop, but our LPs are still floating around.

What about Solar Fox?

This was a side project with Steve Krakow, we released a cassette on a small label Medusa Editions. I was on synth, and he was on treated guitar and I would call our music meditative soundscapes. Solar Fox toured Europe for a festival, but I think the highlight was playing a show in a small church in the woods of eastern Netherlands for a handful of people in the neighborhood. Very cool.

Are you currently working on any other project?

I have a new batch of songs I’m recording with Ben Billington, we just wrapped up day one and we’ll meet up again to record the rest! It’s different from past projects, but different is fun.

Let’s end this interview with some of your favourite albums. Have you found something new lately you would like to recommend to our readers?

I’m enjoying the new Matchess album ‘Sonescent’, all of Alex Nova and Ben Billington’s musical pursuits, Circuit des Yeux’s ‘-io’, Spiral Galaxy, just to name a few. I do always revisit Soft Machine albums, and I’m always seeking out new 70s jazz and prog. I currently have some new and different influences I’m into while working on my new project, but I’ll keep those under wraps for the moment.