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Raining cymbal tears, for rapid tensions that go pop. Seen as
Peers, focus on the process of school. Landlord, they don’t
Hovering hold hands heavy hot ‘Open the door’ key setup
The reality of this release is that it is off cassette which was never released, and 20 years later we are now getting the document allowing us to evaluate the sole work of Kiddus I, and here is how he fits in. CD One #1 African Brothers #3 Barrington Levi, Eek-a-mouse #4 Rock my boat, Clint Eastwood, Congos #5 Wailers, Israel Vibration, Burning Spear #6 Charlie Chaplin #7 Jimmy Riley #8 Morwells #9 Dennis Brown, Heptones, Melodians #10 Jacob Miller CD Two #1 Andrew Tosh, Jah Cure #2 Frankie Paul #3 Blood and Fire, Pressure Sounds #4 Twinkle Brothers, Black Uhuru, Daweh Congo #5 Extended Dillenger or Johnny Clarke #6 A much loved riddim. Junior Delahaye #7 Freddie McGregor, Winston Jarrett #8 Disco ska #9 Twilight circus dub sound system, Pablo Moses #10 Sean Paul #11 Ini Kamoze
Fluid vocal quilt, interlaced dubbed up voice mixing, farting mouth, tar pool delivery. Oh, ohhh, ahhh, bubbly saliva. Speaking goblin, orc? Similar to Phil Minton (who is better) or (more extreme than) Jaap Blonk (entailing a lost of meaning, comparatively). #1 Razor motor sustain and gurgle beat, like having a haircut in a dentist’s office. #2 Fish tank, old man aches and showers, cracking knuckles, pumping gold ink pens, and snake venom spray. #3 Morning yawn. None accapella except maybe #4. Five – Sounds of ocean boat zips, slides, white noise water crashing, things approximate to seagulls, action heavy, heavy wheezing, kissy sounds, and blowing your nose. #6 Scooter engine, leaf blower, two out of breath people, and armpit farts. #7 Burp, and falling to one’s side from over-eating, mouth noise. #8 Sped-up crowd chatter. #9 Gregorian chant and gurgle prayer. Later, the willy-nilly auctioneer shows up. #10 Slowed tour guide to dinosaur talk, then sped to Farsi speed. #11 is funny, scooby doo, bert and ernie, and more, also reggae blap blap. #12 Soothing to an asthmatic’s ears, clear breathing ways, and heavy sleep breathing. Obvious use of stereo hard panned 2 channel production. #13 More than mere technique. #14 More modern. #15 Donald duck meets the choir.
A side is home studio recorded, where the site of confluence becomes the basis for new sound music, where participants play round robin with objects and instruments, use their voice and hands to generate sound with more than just the tradition of a european tuned orchestra. A discord of music technique, this study break be it from musicology, literature, or vocal music studies, brought out an understanding of performance away from the bench and based it squarely on a kind of audiology, understood as where “creation and performance occur simultaneously” and “acoustics” [are tracked] within actual time and space” such as where in poetry action disrupts representation, and a kind of realism is exposed. These performances contain evidence of a later concern of some of it’s members, where in it can be heard/felt that sounds have transitioned environmental conditions, turning morning to night, sun to rain, house to hall to political address, worded as “directly connect[ing] everyday experiences with musical expressions in an attempt to transcend conventional music concepts”. A side is full on music in chaos. Weo weo (woman) re a re a (radio scan) percussive door, shakers, crunchy food, bugs bunny piano humor, bowed string, vibrating surfaces, inner pockets of sound, tapping on glass, pilot voice, large motorcades, and escape action sequences, oil drum and delay processing, slide flute and dolls; Group Ongaku is ensemble outre. Cacophony. Hear the sheer gravity of a synthesizer which inhales all the surrounding sound into a giant black hole. Is that someone cleaning the studio while they record? Later they get in on it, flipper jocking the on-off switch. Music concrete by sheer effort, and ingenuity with tape. B side is live at Sogetsu Hall. This is straight post classical-jazz improv. Alan Silva comes to mind, as does Lawrence Butch Morris. They hold off the percussion until the levee breaks and wamo, the performance is reinvigorated, except the musicians hadn’t yet returned from a walk around the hall, and so the performance returns to quiet development. Also some organ, or accordion with piano keys, comes in.
#1 Entertainment, Rob Rankin’s Solid Foundation introduction tune, KKUP 91.5. Half rap half gospel “indeed”, Jahmazing Grace. Lovers conflated with heavenly overtones of love. #2 Above the conflict and friction in babylon, on large stepping rhythm. #4 Top joint, joyous, without the economy of the bare pop production (solely pop), and not for the dating either, for “single” reasons. Spins with the likes of Tarrus Riley. #5 Evidence of her large voice like used in top 90s soul. B #2 Hip hop style, like Damian Marley. Dancehall in a snap of the body rhythm. “I am the junglist-bring me my cannabis-and you just can’t stop this-you want this.” #3 On the “Satisfy My Soul” wavelength. #4 Did this end up on the Jeff Sarge (WFMU) compilation for the mothers, during the Reggae Schoolroom fundraising marathon, end of February beginning of March, a few years ago? #5 Play with Aisha’s “Wickedness Increase”; on an in common riddim.
#2 A lifted melody. Sure is sweet, and given fine treatment, in vocal and bass. The guitar is a bit prominant, give it a great character, and anticipates since much loved reggae sounds. #3 A sound explored by Jimmy Cliff as well, could have been The Harder They Come or You Can Get It If You Really Want. #4 A cover, “too experienced to be loved by any one”. #5 Eretta a girl, being wooed by the crooning voice of Winston Francis. #6 Tambourine, and the sounds like might be found on old country radio, Elvis and the such. B #1 Built on the melody of that other ancient tune, The Long Black Veil by Lefty Frizzell, which has the coda that talks about the mind going or over my bones, and is quite sad. #2 Funk/Rocksteady. Highly recommended, anticipating funk free jam. #3 About regretable attraction, that kind not good for you, like Philip for Mildred in Of Human Bondage; done in an upbeat style with a nice hand percussion accompaniment. #4 This was upgraded and redone and used many times as a riddim, you might recognise it. #5 Well known. “That’s the sound of a man working on a chain.” Recommended for the Soul Patrol. #6 With a brief solo on the guitar. Composed with having some improvisation in mind.
Better on headphones or extremely loud sound-systems, the music otherwise suffers and does contain noise error in it’s production, while the music also is not very compelling. The messages however are. #1 Image, and theoretical diagnosis, theological and philosophical, indicting the realities of mass relativism. #2 Anti-formalist, anti-theoretic-reductionism, is rather, social constructivist, and, economic and rights progressivist. #3 Congos style down-tempo dank saddened sounds. #4 Sensi spirituality, visiting Jah. Genealogy of the smoker, from present to HIM – his imperial majesty. B #1 Keys and bass helixially interwoven. The same year as Luciano’s Where There Is Life, and shares musical qualities with the like of Luciano. Segues right into the next cut (with silence). #4 Black man time, like the cover shows “We want Mandela face on the *kuger rand”. #5 Show stopper, shortened horns, deeper bass played like a strobe light, dub dancehall.
The Twinkle sound seems to have branched off toward a more crisp electro-disco sound, embracing the treble pop of the prior decade (it being 1990). I think of cross-over rock reggae, dub dance disco, and the such. Right Here Waiting is the wonderfully sentimental chart topper, commercial hit, and hear the woo woo magic of I Still Love You. Not the disco mix sound, more synth-pop. Last track “Live Good” is great, and would like to dedicate to my neighbor who recently passed away.
#2 Ganja is what “It have fi light”, on the pass the kutchie riddim. #3 “Joyce” on a truncated dub of the entertainment riddim. #4 I concur with Toyan, these are more rub-a-dub than otherwise, this one also being quite a strong tune. #5 “Calypso” is fun and dare I say “Ribbit!”. B #1 !! #4 On a much enjoyed riddim, see black roses and eek-a-mouse at sunsplash.
Like Christmas at the heart, Jah in the inside brings happiness in the 12″ form. As good as Alanis Morissette, and in other ways outdoing Ella Fitzgerald. Sound production is top, a studio sound inviting of the lyric Aisha brings. A side, each cut brings out different emotional responses. #1 A choral or humming response along side Aisha (beautiful hidden flute flurries aswell as Christmas reserved reggae technique, the vibraphone). #3 Sticking out the no-no finger and dancing in place in a circle at the hips. #4 Heavy guitar part, for a bar dance crowd or late night radio, with bass punctuating the delivery of the words. B #1 Rebel music, “wrap it in a draw”, do the twist. #2 Faith based chant music in free verse in the style of Prince Far I. #3 The bass line from one of those crooning dance oldies, recommended for the Soul Patrol. #4 This rhythm in vogue on Jah’s Music, recommended. #5 Disco plate style. Like Twinkle but more of the class rather than particularly Twinkle.
A few seconds of field recording start the album, and this, the first track, has the most of the percussion that appears on this album. As the sun shiny noise rock stretches out over nine tracks it takes you through, cone-wise, from many to more discrete noise, in a kind of noise collage much like a blender does to a variety of ingredients, all tracks ending early, and have silence in places within (false endings throughout all tracks), the blended noise going to rumble to bumpy noise (like speed bumps), static noise to distortion, clipping to frequency noise. The key ingredient is the semi-processed vocal work. The Spanish that appears in this is extremely funny, like getting your little sister on the mic to broadcast sound emergencies (4) as if it were a godzilla approaching, and to voice imaginative opinions on what the sound is or does. Very funny stuff, and hard to translate. Later (6), some words are distinguishable, and happen to be angry criticism made in a traditional style that is partially a religious standpoint, with well regarded Spanish explicatives such as, peludo (hairy), degrassado (mf-er), and para mierda (like shit). This is common cultural humor. The voicing is in quite well done childish inflections and cartoonish kiddy language. A cushion of noise both obscures some of the word content while supplementing the inflectional content quite well (3,6), reminding me of noisy tv reception of cartoons overdubbed in Spanish like Speed Racer. One gripe is that the screaming that appears in some of the tracks takes away from the humor of this work, I wish it were left for a different release. Track five has a little of something one might term a beat, that is thankfully absent from the other tracks. Guitar work like Skullflower. Percussion crisp and clear, sounding as if done on a stairway (5), or a stairway played like a piece of percussion.
Either outstretched landed relaxation, or, escaping the situations, evading opposition, taking on no missions, on vacation; does life still hold sublimity to settle the mind’s want of another vantage, the seeing of free settlers, or, withstanding landed settlements. Exercise your free choice. Music made between that life of a break from the common into the common unseen, sounds of the spirits of the venturing musicians, and that sound’s maturity in songs, for evening performance. Dreamy, 80s pop rock done on the industrial punk bare-boned structure. The loneliness of spaced shoe-gaze Nashville country and garage, of say the Posies
Finding; inner sounds (Greenlief), over sounds (Stackpole), rhythm (McDonas), pre-sounds (Moller), analogue sounds (Brown). Feeling song structure (Aurora 1), getting super tones (Segel), rainy exteriors (Djll), and rocky mountain flag capture (Dryer).
Playing along the equator of melodic variation. Over gnawa-esque beat vamps. Playing circumlocutionary, a lead wild musical actor, with coltrane surety, positive spiritry, and given the quick tempo setup, solid soloing. Fruity fluting, planer scales, more jungle less pyramidal. A-4 stands out, is exquisite. B-1 more pharoah sanders / sun ra, but without the space chords, and the rest still apply.
Rotatables, rotor sparks, spit sounds from a straw in low
Blinking in and out, phaser lasers changing the
Noise-Rock from members of Yarche-1000-Soints,
1_Advancing toward doom. Cries of the stark raving mad
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