Play Time – Magic Object (2026)

Emerging from the fertile underground music scene of Upstate New York, the trio known as Play Time has made an intriguing entrance with their 2026 debut album, Magic Object. Although a relatively new collaboration, the band members bring extensive backgrounds steeped in distinct yet interconnected musical traditions.

Drummer Booker Stardrum is recognized for his dynamic work with the jazz ensemble SML, where rhythmic innovation is key. Moog synthesist Ben Vida adds a rich history as co-founder of the minimalist-ambient collective Town & Country and his experience in the post-emo experimental band Joan of Arc. Completing the trio, saxophonist Will Epstein brings his versatile contributions from collaborations with artists such as Nicolas Jaar and Dave Harrington of Darkside and his own ventures into film scoring.

Each member’s solo pursuits have diversified their artistry—Vida exploring ambient textures, Stardrum advancing experimental rhythms, and Epstein navigating singer-songwriter terrains. Their joint effort in Play Time synthesizes these experiences into an instrumental soundscape that defies easy categorization.

Magic Object, released on the Balmat label, departs from their previous musical endeavors, charting territory that is at once abstract and rhythmically engaging. The album gravitates toward textured, groove-oriented compositions that maintain a balance between familiarity and innovation.

Tracks such as “Wanderers” and “Waves Within Waves” exemplify the group’s approach. Vida’s Moog bass lines provide a steady, undulating foundation, while Stardrum’s percussion opts for unconventional timbres—eschewing traditional snare drums in favor of toms and subtle rattling sounds. Epstein’s layered melodic drones on saxophone float above, evoking the spirit of 1970s avant-garde pioneers like Terry Riley and his collaborations with John Cale.

The opener, “Open the Door, Joey,” resonates with flowing melodies and interlocking harmonies that suggest an evolution of Riley’s landmark piece “In C,” now embraced by a contemporary rhythm section. Meanwhile, “Public Broadcast” reinvents the electronic rock motifs pioneered by Silver Apples, replacing vocal elements with sharp, nimble saxophone lines that modernize the classic oscillations for today’s listeners.

Play Time’s genesis as a collective is closely tied to the Catskills town of Kingston, New York, where frequent performances at the bar Tubby’s helped them refine their sound. This venue has become synonymous with an eclectic community where jazz, electronic music, and jam-band improvisations intersect, fostering a culture receptive to Play Time’s modal psychedelia and exploratory instrumentation.

While much of Magic Object embraces hypnotic grooves and fluid harmonies, the album also ventures into more uneasy and textured soundscapes. The title track introduces a staggered, unpredictable rhythm punctuated by Epstein’s staccato sax bursts and Vida’s irregular bass pulses. Stardrum’s brushwork adds a mechanical, almost locomotive quality, creating tension without resolution.

Other compositions like “22° Halo” achieve a haunting melancholy through the interplay of saxophone and synth lines that phase in and out of alignment, producing an off-kilter emotional resonance. The frenetic “Standing on One Foot” challenges traditional harmony by weaving dissonance into a swinging, eventually cohesive rhythm, demonstrating the trio’s ability to navigate complex musical terrains.

Play Time’s debut is a testament to seasoned musicians converging to explore new sonic possibilities. They manage to be avant-garde without alienation, experimental without sacrificing accessibility, and innovative while maintaining a grounded musicality. Magic Object stands as a compelling statement from three artists who, while drawing from a rich history of underground music scenes, are intent on carving out a distinctive voice in instrumental music.

Although exact details of their future plans remain limited, Magic Object positions Play Time as a noteworthy presence in contemporary experimental music, inviting listeners to engage with a sound that is both challenging and inviting.