Conveyance does more than it promises, “transporting someone or something from one place to another,” continuing Marcus Maurice Rubio’s tradition of releasing excellent and immersive music as More Eaze. Dude’s friggin’ prolific too – he’s so prolific that he can’t keep his Bandcamp page remotely up to date. But that’s OK! We forgive when things like Conveyance see the light of day, and we rely on the label (Lillerne Tapes) for streamability.
If I had to count…
No, it would be impossible. IMPOSSIBLE.
The thing that keeps me coming back to the More Eaze brand is the sheer variety of scope in everything he issues. Sometimes he follows a specific conceit until he’s wrestled it to the ground, like he did with the human voice on this year’s a l4ngu4g3 on Tymbal Tapes. Other instances see him exploring long-haul electronic passages, like he’s about to do on the forthcoming 0utside (Oxtail Recordings). Conveyance shies from those extremes, unfolding instead in easily ingestible portions, songs that spin their dewy webs and sparkle in the morning sun as they shift seamlessly from one to the next. And although the prone figure drawn on the cover suggests a relaxed atmosphere, the janky illustration and off-kilter representation points more toward the restless motion of the electronic building blocks More Eaze uses.
It may seem smooth on the surface, but beneath its tranquil face a million tiny fragments jostle for space like nanobots intent on enveloping us and stealing us off to the moon. The components of Conveyance whir like electrons around

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