Colin Stetson new solo album All This I Do For Glory is being released on April 28 via 50HZ. The album is now streaming via NPR’s “First Listen” and they note, “When it comes to Colin Stetson’s music, joy is found in the improbable and seemingly impossible places. It’s often been said that Stetson’s signature sound – hallucinogenic rhythmic swells using just a saxophone, a pair of lungs and some well-placed microphones – is almost supernatural.”

All This I Do For Glory is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the Greek tragedies. As a narrative, it exists temporally somewhere between 2015’s Never Were The Way She Was (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.

With this, his first solo outing since 2013’s To See More Light, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments’ many percussive elements.

There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal “In the clinches” recalls (or presages) echoes of songs like “Judges”, though now feeling like one has fallen down the bell of Stetson’s ancient bass saxophone itself. -“Between Water and Wind” with it’s “Immigrant Song” swagger, relentlessly carves it’s way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album’s six tracks.

Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

In support of the new album Stetson will be touring North America and Europe.

Colin Stetson tour dates

April 20 | Antwerpen, BE at De Roma
April 21 | Amsterdam, NL at Bimhuis
April 23 | London, UK at The Jazz Cafe
April 25 | Dublin, IE at The Workman’s Clun
April 27 | Dortmund, DE at Domicil
April 28 | Stans, SUI at Chäslager- Stanser Musiktage
April 29 | Prague, CZ at Meetfactory
April 30 | Istanbul, TR at Babylon Bomonti Istanbul
May 12 | New York, New York at Baby’s All Right
May 13 | Burlington VT at ArtsRiot
May 15 | Toronto, ON at The Great Hall
May 18 | Victoriaville, QC at Festival International Musique Actuelle Victoriaville
May 19 | Victoriaville, QC at Festival International Musique Actuelle Victoriaville
June 17 | Birmingham, UK at Supersonic Festival
July 16 | Chicago, IL at Pitchfork Music Festival
July 20 | Cincinnati, OH at The Woodward Theater
July 22 | Milwaukee, WI at Pabst Theater
July 23 | Minneapolis, MN at Turf Club