Released on June 13, 2025, Elegy is the ninth studio album from Sound Liberation, and perhaps their most emotionally and musically ambitious to date. Founded by genre-defying composer Gene Pritsker, the group has long been known for tearing down musical borders. On Elegy, they don’t just blur genres—they obliterate them.
This album is not merely a collection of songs; it’s a powerful reflection on loss, a bold statement of artistic freedom, and a masterclass in musical diversity. Across thirteen tracks, Elegy folds jazz, hip-hop, rock, opera, neo-soul, funk, classical, and spoken word into one ever-shifting soundscape—proving once again that Sound Liberation is not just a band, but a musical ideology.
From the opening moments, Elegy is saturated with emotion. The title track, “Elegy,” acts as a centerpiece—a meditative tribute to those we’ve lost, carried by haunting instrumentation and poignant vocal performances. This reflective tone is deepened on “Dealin’ With It,” a raw and touching tribute to Gene Pritsker’s best friend, Sean Satin, who passed away in 2024. The track blends intimate vocals from Chanda Rule and David Banks with layered guitar textures and a mournful violin performance by Lara St. John.
Meanwhile, “Strive” channels grief into resistance. Featuring a powerful rap from the late David Gotay (aka Dave “Criminal Cello”) and Paul “The Pallbearer” Mack, the song doesn’t mourn quietly—it fights back with urgency and fire. These tributes feel deeply personal but also universal, resonating with anyone who has ever lost someone and found solace in music.
One of the most impressive aspects of Elegy is how natural its genre-blending feels. There’s nothing forced about the transitions from classical to funk, from spoken word to jazz-fusion. Each track unfolds in its own world, yet everything is tied together by Pritsker’s compositional vision.
-
“K’Nuf Funk (Live at The 2024 Outreach Festival)” bursts with playful energy, showcasing the band’s fearless live performance style.
-
“Portrait In My Locket” (also recorded live) features a poetic text by Erik T. Johnson, layered over lush instrumentation, bridging contemporary poetry and expressive jazz.
-
“The Cauldron,” set to a poem by Robert C. Ford, brings operatic flair and jazz improvisation together in a spellbinding blend.
-
“Brahms Infinity (Live at Joe’s Pub)” is a mind-bending collision of classical homage and modern experimentation, featuring poetry by Imelda O’Reilly and brilliant live interplay.
The album also benefits from the chemistry of a stellar ensemble. Oliver Marec’s saxophone, Clemens Rofner’s bass, Stefan Kemminger’s drums, and a wide array of featured artists (vocalists, poets, rappers, and instrumentalists) help bring each piece to life. Whether recorded in Vienna, New York, or elsewhere, each track is unified by an unshakable belief in music’s power to transcend labels.
What sets Elegy apart from many contemporary albums is its inclusion of live recordings, which bring an undeniable vitality and urgency. “Portrait In My Locket,” “K’Nuf Funk,” and “Brahms Infinity” capture Sound Liberation at their most dynamic and untamed. The performances are loose yet precise, experimental but grounded—reflecting a band that thrives in the moment.
The live cuts are not just filler—they are key moments that highlight the improvisational heartbeat of Sound Liberation. They offer listeners a window into what it must feel like to experience this group on stage: unpredictable, immersive, and emotionally resonant.
With Elegy, Gene Pritsker and Sound Liberation have delivered an album that is as personal as it is ambitious. It’s a meditation on grief, a celebration of life, and a defiant act of creative freedom. Every track is steeped in emotional truth, technical excellence, and sonic exploration.
Sound Liberation doesn’t just make music—they challenge the very idea of what music is supposed to be. And on Elegy, that challenge becomes something beautiful, profound, and undeniably human.
This is an album that demands your full attention. Not because it’s difficult to listen to—it’s actually quite inviting—but because it dares to be everything at once. It’s not background music. It’s not genre music. It’s Sound Liberation.
Follow SOUND LIBERATION on