Ambivalence has the tendency to dance to its very own beat because of its implied ambiguity. It’s the antithesis to any kind of middle of the road business. And it’s something that rings particularly true for Joram Feitsma’s sophomore album “Flux“. 


The Utrecht-based pianist already raised more than just a few eyebrows with his Bigamo debut “Under“. With his latest collection of beguiling instrumentals though, Feitsma is not only upping the ante in terms of his musical range - the album opener “Struck“ is high on experimenting with guitar, cello-bow and Big Sky reverb. “Dropped“ is embracing the Melodion and there’s lots of subtle shenanigans with electronica and emphasis on the actual sound of the mechanics of his trusted piano throughout, its level of intimacy is an almost painful one as well. It’s like you’re witnessing something that wasn’t necessarily meant to be discovered by your ears and eyes. In the end, it feels like the monosyllable titles are consciously chosen in a bold attempt to gain control of the real world again. Giving home to 15 tracks that were composed between 2017 and very late 2020, “Flux“ is the result of multiple years of experimenting with different styles, different tones, different feelings, exposing an emotional spectrum you thought you’ve lost in the fire for good. It’s sensual. it’s sensitive. It’s even a bit otherworldly. It’s a testament to the idea that we’re all capable of immense love regardless of its possible disillusionment and consequential losses.