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improvisational duo of Nava Dunkelman (percussion) and Jacob Pek (guitar, miscellany) concoct a bizarre elixir of musical influences: from gamelan to kabuki, bebop jazz to rock n roll. a minimalist calamity of crumbling clutter and clatter. from factory junkyard debris to lingering fog on mountain slopes. blending the contemporary and the primordial, these outsound outsiders have a sound truly their own.
jagged ambient deformities and torn, tattered soundscrapes; a thick smoke of delicate dysrhymia dematerialized to the point of absence: decrepit sonic voidism echoing in hollow concrete chambers of steel and ash; distant clambering about subconscious, evoking forgotten fears and lost dreams. troubled tranquility
omnificent, omnipotent, ominous: this project of Leyland Kirby carries the dark musique-concrete tradition of his other projects with a more techno-dystopic theme; reflections on the monolithic beauty inherent in the decay and destruction of modern civilization. post-industrial ritualism stripped down and stretched out, machine-line dub rhythms and broken disjointed trip-hop vibrations chattering. the instrumentation is vague and ambiguous, circuit switched electronics, lingering field recordings, glitched drum machines. stark, haunted by the ghosts of our psyche dead behind our eyes. dizzy, dazed by the sheer force of delusion. devolved, incapacitated by our own progression.
like a collection of old photographs, lost moments of forgotten traditions immortalized here by Bengali ethnomusicologist Deben Bhattacharya, recordings captured during his overland voyage to India from 1955-1956. at the start of each side we set out by road or rail traversing the great desert from Anatolia descending into the Levant and across the Fertile Crescent into Persia and finally India. religious rituals, domestic rituals, nomadic rituals; ancient modes and harmonies spread across a vast geographic space along the Silk Road and through Bedouin drifting and Vedic-Aryan migration. a timeless document of historical significance documenting musical practices that carry meaning today.
Andrew Lewis takes the name for this album from the French word “beyond,” and takes himself there through the power of realized sound. Lewis is a professor of music at the Bangor University in Wales, UK. With only one other release (a DVD from the same label Empreintes DIGITALes,) Lewis’ music thankfully finds its way into the KFJC library!
Amazing work here, Lewis calls his sounds “acousmatic music,” which I think is inherently confusing since it seems to mean hearing music without knowing it’s source. That being said, it isn’t exactly easy to pick out what “instrument” he’s playing as it’s a collage of field recordings and electronics. Sometimes the sound is hectic, other times scarce, but each track focuses on a certain idea, which I’ve described below.
1) Touches on the idea of dyslexia
Under license from Raster-Noton, so the dark, minimal, glitchy electronic beats are no surprise. They are precise, clinical and dehumanized with not a hint of comfort – though KFJC listeners may nonetheless derive comfort for those exact reasons. It undermines 21st-century sources of self-worth: career success, religion, intoxication. CI stands for “Corporate Identity”, the deceivingly friendly face that The Man wears to interface with humans.
#1 FCC. #4 Japanese speech. #6 ft Neil Tennant (Pet Shop Boys) self-harmonizing an traditional African-American hymn. #9 Telephone customer service robots, amazing.??#2 #3 #5 #7 #8 #10 Instro.
Genevieve Beaulieu and S. De La Moth from Montreal are back for their sixth installment of genre-defying creativity. The great Lord Gravestench describes them beautifully in another review, but to give you a quick idea, another review calls their music “a powerful hybrid of avant-garde black metal, dark ambient, drone, and martial neo-folk.” Let’s just say that this time around, I feel the mood is more neo-folk drone with hints of metal. The overall feeling this CD left me with is that I had attended some kind of mass. The instruments are reminiscent of organs and ritual, and of course the voices, particularly Genevieve’s, are lovely enough to make you soar to higher heights. These are long songs, giving themselves time to flesh out their themes. And the lyrics are nicely printed in a booklet inserted into the sleeve, kind of like a missalette.
It’s quite clever that the cover of this 7″ depicts women who are past the age of the crimson wave sitting around a huge bouquet of flowers–is it a seance? A funeral? The young voices of the four-piece Baltimore band of the same name do sound sad, but their reasons are timeless, and the melancholy is just right alongside the guitars, bass, and drums that express it. The lyrics are printed on a sheet inside, and the “dark pop” of this release is just right for getting you to feel something. The fact that it’s heart-tugging makes it all the more intriguing to listen to.
Side two a muppet monster tries to learn to speak
These may be riddles that cannot be solved.
Hyperactive hjinks here thaT won’t disappoint. The
New release from Time Released Sound of Japanese artists led by Masashi Shiraishi, who calls his music “not music but art of sound.” Shiraishi does do most of the work: playing the piano and field recordings, as well as doing the programming, mixing and arranging. The others on here add parts to certain tracks, but it’s hardly perceptible, as the space and scene captured in each track all blend together.
Ocean sounds, nighttime, dark alleys, black rain clouds, all evaporate in the background, while the piano plays naive and optimistic, unaffected by its pessimistic demeanor.
Some of the longer tracks seem to go on and on, but it’s worth the wait. What would otherwise sound bleak and dreary, is a nice subtle touch of grace in a creepy void.
Keppard, Freddie – “17 Rare Selections of The Finest Jazz Cornetist of The 1920′” – [Herwin Records, Inc.]
New Orleans Jazz from this famed cornetist. A cornet is similar to a trumpet but mellower in tone. First side features two takes each of two different songs for an interesting insight into the recording process. This music makes you want to put on your flapper dress and dance the charleston.
Four long tracks of fabulous animals sounds from Bay Area artist Doug Carroll. This time Doug is featured on the cello. Each track is a lovely mix of human composition and animal improvisation. A completely perfect album. I will play all of this often and I hope you do too. And if you have not played his other pieces in our library I suggest you do that too.
Black Uhuru- ???Tear It Up??? (Live)
The classic BU lineup of Michael Rose, Puma Jones and Duckie Simpson on vocals, backed by the legendary rhythm section of Sly Dunbar and Robbie Shakespeare on drums and bass.
This ‘aint no Sponji Reggae, spin and twirl your dreads ganja-head fun party.
???Leaving to Zion??? is my personal fave here, but all songs are solid.
Throw away your cigarettes and light up your spliff.
This music is just what the doctor ordered. Matt Adams is The Blank Tapes, and although he has other people sitting in for some of the songs, he is the main player and vocalist on this CD. His website describes the music as “psychedelic cartoon”, and you can definitely see why. It is reminiscent of The Grateful Dead, and it is largely upbeat, jaunty, punchy, feel-good music with tambourine, kazoo, and so many other instruments. There are 40 tracks, all of them great, and relatively short. He’s based out of San Francisco and Los Angeles, as the Hwy. 9 album title might indicate. I dare you to listen to this and not feel better afterward.
The guitar music on this LP originally from 2007 has been described as dark ambience, but to me it’s simply intense, with little palate cleaners and fascinating field sounds and samples in places, and the music sounds like the train pictured on the album cover in “Your Tunnel.” There are occasional vocals that are not the clearest. I wouldn’t call it a bad orchestra, but I would say the Australian musician has crafted the music to attempt badness, which is a good thing.
John Schooley and Walter Daniels, two ex-punksters/current noisefolkbluesters. Daniels played in Jack O’ Fun with Tim Kerr from Big Boys, and Schooley’s band, The Revelations toured with The Oblivians and Schooley also toured solo with R.L. Burnside (if that’s any testament to his blues abilities).
Here is their folk/blues album, chalked full of covers, this is also the first album where they both play exclusively acoustic instruments. Since they’re so used to making those awesomely strange distorted noises and electronics, they are kind of forced to bring that out in the acoustic sounds. Great collaboration!
Covers of Blind Willie McTell, John Fahey, Hank Williams, and a couple traditional pieces. My favorite is the original “Winston Churchill Cigar Blues.”
Spacey, hectic, squeaks and squallors that slow and build in a sonic meditation.
Konstruct is a Turkish free-jazz/improv group that teamed up with Joe McPhee to create this album from Roaratorio Records. McPhee met the group through Peter Brotzmann during a festival in Istanbul, so they decided to play an impromptu gig (without practicing) at a venue called “Babylon,” from which this release gets it’s name.
A great mix of both Konstruct and McPhee; neither of them really takes control, but instead swim together, keeping each other afloat. My favorite is the track “Involution” meaning the slow decrepitude of internal organs, or a function that is equal to it’s inverse. The track, like the old city of Babylon, rises and crumbles. The last track, “Kek’e” (Turkish for billy goat), is a little more soothing.
Lots of stuff going on here, and 4 x 10ish-minute long tracks on this nice slab of black vinyl.
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