SML is the quintet of bassist Anna Butterss, synthesist Jeremiah Chiu,
saxophonist Josh Johnson, percussionist Booker Stardrum, and guitarist
Gregory Uhlmann. Their second album, How You Been, finds the supergroup
of prolific composer/producers pushing ever further into the
hyperrealist, collectivist approach to music creation nascently explored
on their debut Small Medium Large, which was lauded as “awe-inspiring”
by Glide, “exuberant” by the Los Angeles Times, and “an exciting
milestone” by Pitchfork.
How You Been represents a breakthrough in the musical language of the
group. This new work was crafted via extensive post-production of
recordings from a handful of shows in a similar fashion to their debut,
but whereas Small Medium Large was constructed from analog tapes of the
band’s very first (and very modest) shows at bygone Highland Park LA
venue ETA, How You Been was built with a higher level of self-awareness
and a far deeper pool of source material.
Behind the thrust of the first album’s success, the band approached
every performance in late 2024 and early 2025 as a generative
opportunity to hone their sound and document their expansion across a
new landscape of audiences, venues, and cities. Despite the
premeditation driving their commitment to record every moment,
the band started every show without musical direction, improvising
intuitively, completely. Within every performance is an impressive
display of the band’s total trust in one another and confidence in their
own instincts.
As SML has evolved and spread out in space-time, their fluencies, both
as an improvising unit in performance and as a production team in the
studio, have sharpened. At inception the band inspired disparate but
distinctive artist comparisons like Essential Logic, Oval, Herbie
Hancock’s Sextant, and electric Miles Davis, as well as assorted genre
touchpoints like Afrobeat, kosmiche, proto-techno and new-jazz. With How
You Been their work manages to both collapse and explode such
derivatives, displaying a new, high resolution version of SML,
fully-flowered into a new strain of sound, bound to incite its own
copycats in due time.
“SML might signal a new iteration of jazz, or it might not be jazz at all, or it might not matter.” - Pitchfork
It’s important to note that SML’s sound wasn’t created in a vacuum. The
band is part of an extensive community of creative musicians who
collaborate in a multitude of ways, and that community has proven to be
essential to a growing family tree of innovative, genre-expanding music.
Los Angeles in the 2020s is a musical Petri dish in the same way that
Cologne & Dusseldorf were for the birth of Krautrock; Canterbury for
progressive rock in the late 60s; NYC for No Wave & the Downtown
sound in the late 70s and 80s; Chicago for genreless, Tortoise-adjacent
sounds in the 90s. The musicians of SML represent the core of a new
school within the Los Angeles jazz and improvised music scene that seems
to breed infinitely overlapping combinations, including Jeff Parker’s
ETA IVtet and Expansion Trio, the Uhlmann Johnson Wilkes trio, Anna
Butterss’s own band (as heard on 2024’s Mighty Vertebrate), and various
other solo and ensemble projects encompassing every single member of the
SML, respectively.
On How You Been the curatorial challenge of the capture-cut production
employed by SML is met by the delightful happenstance of each member
being a seasoned producer on their own merit. Accordingly, SML’s
perspective on what is a moment to expand upon with the post-producer’s
knife and glue is five-strong. Each member’s proclivities, penchants,
and predelections get their chance to filter the always-evolving
elements of the group concept.
“Chicago Four” uses a live recording from treasured Chicago haunt The
Empty Bottle as its foundation. It begins with interlocking synth and
percussion loops before the entry of Uhlmann’s wobble-effected electric
guitar melody and Butterss’s picked bass counterpoint. Stardrum’s
swinging traps slide in, catching up to a couple of added percussion
layers, before Johnson adds distorted chordal hits that sound like hard
horn samples from a golden era Bomb Squad or Rakim beat. It all
intertwines perfectly and makes an otherworldly vehicle for Johnson and
Chiu’s cascading keyed melody, which soars above and between,
complimenting either side of a hypnotically shifting, infectiously
repeating modulation.
“Brood Board SHROOM” is a temporary touchdown on an alien planet where
rhythm moves in timeless, breath-like undulations, with repetitions cut
from a very different cloth than the lock-step polyrhythmic grooves of
“Chicago Four.” The track’s opening lines evoke the soft throbs of the
beloved ambient works of Aphex Twin (or perhaps a Robitussen-drenched
take on Steve Reich’s Different Trains), before frothy curtains of
textured sound drape into the mix, overlaying like distant, minimalist
symphonies in a gentle, synthetic recreation of free time — slackening
and accelerating as each layer of tonal pulses hovers to
front-and-center or retreats into the distance. It’s a gut feeling
rather than an academic exercise, and it’s all in the service of forward
motion. “Plankton” occupies a similar space albeit in bite-sized form,
centering Buterss’s low end melodicism and high-string visitations
surrounded by skittering tonal chatter from their bandmates.
Of course, SML’s experiments with this kind of pulsating freedom are
heavily balanced by muscular turns and body mechanics fit for the
dancefloor. “Taking Out the Trash” is a perfect pace-setter for How You
Been, a punchy nugget encapsulating the essence of SML. Chiu’s
percussion synth establishes the groove before Stardrum and Butterss
drop in on a heavy breakbeat. Uhlmann comes in with a searing, plucked
staccato funk line on his guitar that would give Glenn Branca and Larry
Coryell something to high five about. Things eventually trip into a
total breakdown, with only the perc synth still looping. When the band
explodes back in, the key has changed, and Johnson is letting loose on a
wailing, distorted saxophone solo.
“Is there a way to dim the lights a little more?” Chiu asks at the start
of the album’s closer “Mouth Words.” Moments later SML takes us out
with a mid-tempo 4/4 groover dressed in swelling glissandos and
punctuated by insistent, rapid-fire phrases from Johnson’s alto. As the
final tune dissolves into a layer of arpeggiated chirps and sampled
crowd sounds, Chiu’s voice is back again to say what we’re all thinking:
“Very good. Thank you.”
Tracklist:
1. Gutteral Utterance
2. Chicago Four
3. Taking out the Trash
4. Plankton
5. Chicago Three
6. Daves
7. Old Mytth
8. Stepping In / The Loop
9. Brood Board SHROOM
10. Odd Evens
11. How You Been
12. Moving Walkway
13. Mouth Words
