Moving Continuity is a record about how it feels to be alive and to move through the world, what stays constant and what is in flux. It represents the culmination of everything I had wanted to achieve in this early phase of Anquan and compositionally explores the interplay of structured and improvised material, electronic and acoustic instrumentation, consonant harmony and harsh noise. These elements exist in non-antagonistic complementarity, each piece progressing less like a narrative and more like the development of a day or a long-distance journey.

The record features incredible performances by my friends James Eyre Walker (drums, percussion, lap steel), Keeley Young (saxophone), Rishi Montgomery-Woodward (keyboards), and Jordan Bain (harp) and I couldn't be more grateful for the ways in which their intuitions and choices pushed these pieces in beautiful and surprising directions that I never would have found on my own. It was engineered at Underground Audio in Brisbane, Australia by Christopher Brownbill, whose efforts in the mixing process became a crucial part of the composition, and mastered by Mahamboro at BRRRZ. STUDIO in Yogyakarta, Indonesia.

The five pieces that comprise Moving Continuity were written alternately at moments of high mobility and of stillness and further refined through solo and collaborative performances. I have been particularly interested in investigating where or what is the essence of this music, whether it remains 'itself' when particular elements are added or subtracted or when it is performed with or without a particular collaborator. Playing in a wide range of different venues, from precisely-tuned hi-fi clubs to bedroom spaces using practice amps, allowed me to experiment with time, volume, eq, and harmonic content to suggest different points of focus.

Further opportunities for investigation came during the recording and mixing process, when a bizarre series of events led to the loss of the stems from the initial recording. Only an early, roughly-mixed version of the session remained and parts were re-recorded at home. This meant that elements from the initial recording were fixed in place and new decisions as to how to best present the existing material needed to be made. Somehow, it feels like it was necessary for the record to undergo this process in order to become itself.