Pre-Orders & New

Exclusives & Limited

Best of 2022

Books

Sale

Merch / Stereo

The Gift Shop

Genres

Events

Blog

Club


Account

United Kingdom

Album artwork for The Long and Short of It by quickly, quickly
Album artwork for The Long and Short of It by quickly, quickly
Album artwork for The Long and Short of It by quickly, quickly

For fans of King Krule, Unknown Mortal Orchestra, Thundercat, Shigeto, Mild High Club and Crumb. With The Long and Short of It, his Ghostly International debut, Jonson reinvents his project as a full-fledged songwriter, vocalist, and arranger, playing nearly everything from drums to keys and guitar. The resulting sound straddles jazz, hip hop, R&B, and psych-pop while suggesting a wholly genre-less path forward. Recorded during and after a short-lived move to Los Angeles, songs find Jonson cool and comfortable, navigating the planes between anxiety and apathy, distance and desire with lyrical vulnerability and introspection.

A student of the Stones Throw catalog (his favorite is Madlib’s Quasimoto), Jonson remains rhythm-driven at heart, trusting his instincts in this new palette of organic instrumentation and verse-chorus structure. Tracks glide and bump with tasteful care to tempo as his scene-building and storytelling knack comes into focus. Jonson’s past material often suited passive listenership, the kind of bedroom-produced beat music that offers secondary utility and function as a companion to primary activities. The Long and Short of It showcases an evolutionary step into a style that uses chops cultivated in that niche that demand a more active listenership. That attention is rewarded with earworms, dazzling production flare, and earnest, genre-spanning songwriting.

Opener “Phases” launches on the radical wisdom of the album’s sole vocal feature, courtesy of renowned poet and activist, Sharrif Simmons, who contributes a psyche- delic poem spanning cosmic existentialism — something he wrote off the cuff during a session. As the fiery spoken word unfolds, a frenzy of drum grooves from Micah Hummel and strings from Elliot Cleverdon rise higher into the mix, all setting the stage for Jonson’s debut at the mic and keys. The back half of “Phases” shifts into a hypnotic instrumental, the drums interlocking on guitar lines, pausing for a spacious break before reassembling twice as potent, riding into a blissful, cathartic saxophone solo by Haily Naiswanger.

“Shee” was written on his girlfriend’s guitar and every line glows with uncomplicated adoration. He is captivated in this daydream, which drifts off into a haze of strums and hums. We wake to the looping drums of “Leave It.” Above the pattern, layering piano and guitar, Jonson pokes holes in himself — his “cognitive dissonance,” being “too jaded” to see what’s right in front of him – the notions blurring back into that haze on an outro of sublime ambient psych-jazz. Jonson returns to the piano for “I Am Close To The River,” the place he goes to break a creative rut, as he was the morning this bittersweet melody entered his mind. He says the song is loosely based on a psychonautic experience he had along the Willamette River. Once home, he put the song to paper, over time arranging a bucolic mix of shimmering chimes, saturated percussion, and orchestral strings from Elliot Cleverdon.

A highlight on the record’s b-side, “Everything is Different (To Me)” features all the traits of the new quickly, quickly in one ambitious suite: a catchy guitar loop, a classic hip-hop drum break, a swell of strings, and sly chord progression changes, all in clever contrast to Jonson’s lyrics detailing bouts with lethargy. The album ends on a series of questions in the poignant “Wy,” a delightful resignation. Jonson, lonely in LA, spins the hypochondriac wheel and checks off concerns that seem to plague internet dwell- ers; his neck hurts, his hands are shaky, his stomach feels off. He dismisses his need to self-diagnose and opts to lean into the moment through music. A billowing outro builds on airy synths, his contemplative guitar strums, and a soothing water droplet sound. The comedown is “Otto’s Dance,” a brief instrumental reverie nodding to one of his favorite Brazilian albums, Milton Nascimento and Lô Borges’ Clube Da Esquina.

quickly, quickly

The Long and Short of It

Ghostly International
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for The Long and Short of It by quickly, quickly
LP+

£21.99

Paint Splatter.

Released 15/10/2021Catalogue Number

GI383LPC1

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
LP+

£21.99

Forest Green

Released 15/10/2021Catalogue Number

GI383LPC2

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
CD

£12.99

Released 15/10/2021Catalogue Number

GI383CD

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
LP

£21.99

Black
Released 15/10/2021Catalogue Number

GI383LP

Usually dispatched in 5-10 days

quickly, quickly

The Long and Short of It

Ghostly International
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for Album artwork for The Long and Short of It by quickly, quickly  by The Long and Short of It - quickly, quickly
Album artwork for The Long and Short of It by quickly, quickly
LP+

£21.99

Paint Splatter.

Released 15/10/2021Catalogue Number

GI383LPC1

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
LP+

£21.99

Forest Green

Released 15/10/2021Catalogue Number

GI383LPC2

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
CD

£12.99

Released 15/10/2021Catalogue Number

GI383CD

Usually dispatched in 5-10 days

Album artwork for The Long and Short of It by quickly, quickly
LP

£21.99

Black
Released 15/10/2021Catalogue Number

GI383LP

Usually dispatched in 5-10 days

For fans of King Krule, Unknown Mortal Orchestra, Thundercat, Shigeto, Mild High Club and Crumb. With The Long and Short of It, his Ghostly International debut, Jonson reinvents his project as a full-fledged songwriter, vocalist, and arranger, playing nearly everything from drums to keys and guitar. The resulting sound straddles jazz, hip hop, R&B, and psych-pop while suggesting a wholly genre-less path forward. Recorded during and after a short-lived move to Los Angeles, songs find Jonson cool and comfortable, navigating the planes between anxiety and apathy, distance and desire with lyrical vulnerability and introspection.

A student of the Stones Throw catalog (his favorite is Madlib’s Quasimoto), Jonson remains rhythm-driven at heart, trusting his instincts in this new palette of organic instrumentation and verse-chorus structure. Tracks glide and bump with tasteful care to tempo as his scene-building and storytelling knack comes into focus. Jonson’s past material often suited passive listenership, the kind of bedroom-produced beat music that offers secondary utility and function as a companion to primary activities. The Long and Short of It showcases an evolutionary step into a style that uses chops cultivated in that niche that demand a more active listenership. That attention is rewarded with earworms, dazzling production flare, and earnest, genre-spanning songwriting.

Opener “Phases” launches on the radical wisdom of the album’s sole vocal feature, courtesy of renowned poet and activist, Sharrif Simmons, who contributes a psyche- delic poem spanning cosmic existentialism — something he wrote off the cuff during a session. As the fiery spoken word unfolds, a frenzy of drum grooves from Micah Hummel and strings from Elliot Cleverdon rise higher into the mix, all setting the stage for Jonson’s debut at the mic and keys. The back half of “Phases” shifts into a hypnotic instrumental, the drums interlocking on guitar lines, pausing for a spacious break before reassembling twice as potent, riding into a blissful, cathartic saxophone solo by Haily Naiswanger.

“Shee” was written on his girlfriend’s guitar and every line glows with uncomplicated adoration. He is captivated in this daydream, which drifts off into a haze of strums and hums. We wake to the looping drums of “Leave It.” Above the pattern, layering piano and guitar, Jonson pokes holes in himself — his “cognitive dissonance,” being “too jaded” to see what’s right in front of him – the notions blurring back into that haze on an outro of sublime ambient psych-jazz. Jonson returns to the piano for “I Am Close To The River,” the place he goes to break a creative rut, as he was the morning this bittersweet melody entered his mind. He says the song is loosely based on a psychonautic experience he had along the Willamette River. Once home, he put the song to paper, over time arranging a bucolic mix of shimmering chimes, saturated percussion, and orchestral strings from Elliot Cleverdon.

A highlight on the record’s b-side, “Everything is Different (To Me)” features all the traits of the new quickly, quickly in one ambitious suite: a catchy guitar loop, a classic hip-hop drum break, a swell of strings, and sly chord progression changes, all in clever contrast to Jonson’s lyrics detailing bouts with lethargy. The album ends on a series of questions in the poignant “Wy,” a delightful resignation. Jonson, lonely in LA, spins the hypochondriac wheel and checks off concerns that seem to plague internet dwell- ers; his neck hurts, his hands are shaky, his stomach feels off. He dismisses his need to self-diagnose and opts to lean into the moment through music. A billowing outro builds on airy synths, his contemplative guitar strums, and a soothing water droplet sound. The comedown is “Otto’s Dance,” a brief instrumental reverie nodding to one of his favorite Brazilian albums, Milton Nascimento and Lô Borges’ Clube Da Esquina.