1982 sounds like next week. Pope’s tenor pumps
nectar over Cornell Rochester’s passionate
percussion and Gerald Veasley’s force-to-be-
reckoned-with electric bass. You heard me,
electric…normally that sends a shiver in
one ear, down the spine, back up and out the
other ear…electric bass in jazz can sound
like a rubber tree in a cartoon. The range
and expression of the upright tower over its
cousin. But this is exceptional, Veasley is
nimble, from deep-fried rumble to lighter
than air harmonics. This release should get
some nice crossover on plenty of shows. At
times there’s a manic power that makes you
think of Japan’s Ruins. Besides a secret
tunnel to rock, there’s another big one to
funk. Still the thrill to the ride is Pope’s
sweet sax sermonizing, matched by his often
heart-stopping (and in some spots heart-
shattering) composition. Drums were recorded
a bit flat…but everything else soars. This
is a blessing from on high.
1982 sounds like next week. Pope’s tenor pumps
A hippy vibe with Black Pride coming from the flip side of
Motown Records. This album oozes “lanquidity” coasting from
note to note. I preferred the first side, guided by label
co-founder and trombonist, Phil Ranelin. He keeps bassist
Charles Eubanks popping, and then adds vocals from Jeamel
Lee on two tracks to pour a little Angela Davis gasoline
on the simmering warmth. By the time that side ends, he’s
built up a firecracker of a number with “How Do We End
All Of This Madness” on which he sings as well. Ranelin’s
trombone adds to the curvaceousness of this release, only a
few moments of Wendell Harrison’s sax spike up out of the
mellifluous melange. What holds this all together, and
maybe holds the spiking solos back, is the omnipresence of
electic piano. It’s just an instrument that fills, often
prettily, but rarely commands. It is more dominant, along
with some flute on the side that Harrison composed. Some
30 years later, Ranelin is still rolling, co-creating his
own label with artistic control back then showed a lot of
foresight and soulful sound.
It may well be that Goofus and Gallant are the same
person. It also may well be that the P. Boys are a
brother/sister combo Oliver & Angela Alden, along with
their childhood friend Dean Douglas. It may be that
this started as a lark, and still continues as one.
A goofball gumball assortment of pop drops, and to
“clear” the palate arcane swipes from out-of-print
kiddie vinyl. In the lyrics, on top of plenty of
square phrases rhmyed into round holes, we get nods to
Tzadik, Black is the Color of My True Love’s Hair
(not Sharrocked, nor Waters’d down…but tinted blonde
or yellow if you will). If the Frogs and Danielson
Famile adopted Vincent Gallo, would Brown Bunny have
had “Brown Underpants” as its theme song? It’s like
they have created song-poems direct and eliminated the
middle matchbook man. Or maybe they’re college DJ’s,
big kids in the treehouse like us?
Featured clarinetist Perry Robinson has played with the
Fugs, Pete Seeger as well as various jazz luminaries
like Archie Shepp, Charlie Haden, Don Cherry. For me,
the clarinet is the neediest of reeds; too often it has
a thin timber and a sort of whininess. Over the course
of these two discs, we get a broader display. On the
studio disk we embark in a toe-tapper riding a slinky,
spiraling melody. “Blue Flower” starts blown-out but
gentle, like writing a poem with a hangover. Over time
its scratchiness goes smooth. Ultimately we get more
flurrious and wobbly playing on “Fence in the Snow.”
It’s a crazy beauty that starts w/ xylophonic tinkery
and includes Parker dervishing on one of his found
foreign reeds himself. That winds up with some weird
aquatic vocals. Aces! The second live Tonic disc finds
Parker as ebullient as ever. The improvising is wide
open, and people can come in on many wavelengths
from Dixieland, to Bop, to vague Klezmer marches to
other regions of imagination.
Re-release of this Baltimore bands first two ep’s. Provides
both the scratch and the itch for rabid rock-pop. Dual guitar
interplay does a nice job of creating songs that sort of
climb up on top of each other. Keyboards are used as very
minimal highlights (to good effect, not distracting from the
solid, simple guitar). Roman Kuebler’s vocals have a sweet
angsty rasp to them (#1 and #5-Graham Parker anyone?). That
familiar sort of controlled yell, directed rage. There’s a
prozacky ballad #12, but this band is best when it’s got a
frantic woodpecker energy going and Strato-rattling guitars.
Music to inject vodka into, hope they opt for that rather
Portland, Oregon duo – guitarist Jason Buehler
and percussionist Mark Shirazi. Kitchen sync
and sample stampede over drums that touch on
tangents to dub. Guitar bubbles served over
some piledriver basslines in other parts.
Tweaked and twiddled transmissions.
Croak and dagger noise from Masami Akita. Rolling out the
limited (1/1000) “frog-colored” vinyl smacks of crafty
merchandising, but the album smacks of pain that you would
hope for. The concept could be as simple as Merzbow himself
dialing the resistors just right to get a virtual frog
sample that belches forth on the A-side, but I prefer to
think the “Frog” monniker is to represent an amphibious
nature to this release. There are moments that this almost
leaps out to the dance floor, geiger click, hep repetition
and jackhammer isometrics create a sort of tadpole techno.
There’s some faux locked grooves, but grooves nonetheless.
But then we get a cathode-arcing bipolar blitz, sheer
shrieking audio assault. Side A takes a while for the hail
of electric fire to rain down, it ends with a sputtering
disintegration. Those merciless moments subside on the
B-side, not that it’s unnoise; it still annoys but the
presence of Rana rhythm over the dank clank of dungeons
provides for vivid sections. Seems like he’s tossing in
reversing sounds as well. Merzbow’s white noise is the
sum of a lot of colors.
Trembling before beauty music; exudes grace, though shatters
nothing. Minimal steps in other’s footsteps, melodies climb
up a step, down a step, up a step. Tilda Swinton who has
collaborated with the departed Derek Jarman adds spoken
texts, but to my ears she was too often lost in the gauze,
there but not there. Is she Orlando, or just Tiresias?
Typewriter for effect with the words too. For the fattest
FatCat vibes, try #4 or #7, still that’s pretty svelte
for beat worshippers. If you dig “Shadown Journal” check
out some of Simon Fisher Turner’s stuff. There’s also
wounded piano thoughout, the ankle twisted and lingering
on the sustain pedal. My secret favorites were the two
organ numbers, great pools of sound with ripples of
Terry Riley…#5 and #9. If I lied and said this guy
was the big brother to the twin sisters of Mum would
you like him more? Like Mum, Richter can summon moments
of deafening quiet.
This album poses a lot of questions. What would you do with
your life if you survived a three-story fall through a plate
glass window? And what if the stories were taller tales than
that? Where did the “Five Seconds of Marmots” go exactly?
Who is this “Lester Vat” (aka Anthony Riddell). His bellicose
bellowing is certainly what lingers in your ears. Still the
sonic crumpling, oscillating, and burstling that surrounds
these thought and tone poems is vital. Like there is something
really important going on in the next door apartment, and
they’ve got the radio sliding around the dial, and the TV is
on a polynesian soap opera… And what is that guy saying,
exactly? Evidently Riddell is born with a speech impediment
that he has turned into a speech instrument…stretching and
repeating words, he alternatively seems to be both delighted
and disturbed by the difficulty in communicating. And maybe
not just his, but everyone’s. The lyrics often do focus on
this phenomenon. Tracks are revived from original cassette
tapes, and at times, it sounds like the oxide itself is being
chewed and gargled and choked on. Outstanding early 90’s
Australian art-damaged, body-damaged experimusing.
The intersection of the lines of madness and lines of genius
may not be one point, but two coincident lines. Timeline here
is 1972, behold the third release from Montreal’s ensemble
L’Infonie. Apparently this galaxy of musicians revolved round
a twin-star center of Walter Boudreau and Raoul Duguay, each
respectively contributing it would seem order and disorder.
The first disc can be sliced at different points to produce
Sun Ra keyboard spirals, bluesy swagger, halleluiah chori,
sputtering gibberish, pure prog rock, freeform jazz. Several
themes recur, I love the way it gathers itself: horns shoot
up out of sprawling piano, drum swatches and an anxious bass.
I think the bass really holds a lot of this together, often
it leads the themes. The second disk starts off with back to
Bach numbers. Then in the midst of the “Prelude,” a garagey
number with flute and outta tune vox sneaks in, then things
get mighty howly and big bopping. “Ubiquital” has a knocked
round glockenspiel feel with zithery strings in that modern
classical tension-for-tension’s sake. “La tonne platte”
starts with sideways jazz, gives way to what sounds like a
Butoh race through the audience which returns on an awkrward
cut back to the sideways jazz. Vive le strange.
Delivered to us by labelmates Black Forest/Black Sea,
this Baltimoric coven including Oxes’ Nat Fowler and
Chris Freeland. They sacrifice somber minor-key mantras.
Cello drifts thru like incense, and ye’ ol’ singing saw
is summoned upon occasion as well. Despondent without
being desperate. Lyrics flicker in the shadows of
fallen gods and lapsed rockers. Have faith, but do a
Between the lines of composition lies room for fantastic
improvisation. Lindberg’s quartet this time is in a mostly
mellow mood. Even the more fiery moments have a tranquility
to them. Witness the hopping cookers that match melodies
and start/close the album, each spiked with Susie Ibarra’s
quick crash Chinese gongs and seesaw seasoned by Lindberg’s
bowed bass. Also check the kooky kinetics of “Generations”
rattled by Ibarra and slapped by Lindberg to get it rolling.
Now that’s marching to a *difficult* drummer, twice it stops
to let Baikida Carrol chase a hummingbird. Steve Gorn is
here with a variety of winds, elegantly on “Implications”
which is all him halfway till a timpani roll and then a
kinda disharmonious join by Carrol. Weird. That and the
Gottschalk-inspired “Great Spirit…” missed me, but all
else here is meticulously mapped. I really dig Lindberg’s
composition, and Carrol does spend a lot of time with
the mute en tote. That gives the trumpet a little more
grimace to its glide. Ibarra is always a treat, her
kulingtang on “Beau Theme” is heavy on the kul, light
on the tang. “Yatan-Na” is part paean to a pagoda but
then its got this crime jazz alley at the center. Gorn’s
bansuri is strong on both cases. Another outstanding
outing on this label run by Franz Koglmann.
Thurston Hunger 1/29/2005 A Library
The ultimate battle, pitching the red wires of electronics
versus the green strings of guitar… In this corner, Yannis
Kyriakides ticking, clicking, and flipping the world on the
fritz. In that corner, Andy Moor of the might Ex, tapping,
slapping and scrapping his way up and down the fretboard
and beyond. The resulting rounds are quite a shadowy box
of sounds. There’s an overall suspicious feeling, like a
convict re-entering the work force as a security guard.
Or a boxing glove, loaded up with a few bars of iron?
“Time Flies” is a guitar heavy track wherein Moor snaps
off harmonics at odd angles, but the hover and blink that
Kyriakides applies below and above the guitar is vital. As
on “a conSPIracy cantata” Kyriakides establishes himself
as a true collaborator on electronics, he’s actually on the
same plane and planet as his more organic partners. We win
with a solid improvisational knock-out that is nearly as
stunning as the photos by Isabelle Vigier within.
I love how this album begins, like a nighttime strafing of an
army of flying saucers. After that we get a good headphonic
mix of stark darkbeat. Shek evidently is a Russian, and this
is his sonic snapshot of a trip from Moscow to St. Petersberg.
From the sounds of it, he travelled during winter, strapped
naked to the top of a train. Gulag rave? Certainly has plenty
of danceable moments, as the steel wheels find a rhythm on
the rails. I prefer the more ambient textures of coal smoke
that blow through now and then. Some processed vox (as if
lifted from a station’s loudspeaker or a police bullhorn) are
mixed into the murk and add to the mystery. Good rubbery
tone in part and lots of friction percussion also help
this to stand out.
Liquid strings and bowed drums, these are the dreams
this trio spins. For me the album found its voice when
Kowald used his (Tuvan style on #5). After that point,
I was hooked…(well aside from grunting byproducts
on other tracks) The first two tracks have a muscular
maelstrom approach…if you want something with all
three off to the races. On the third Masaoka’s koto is
flinging shadows over Kowald careening between two
bowed notes. Track four has Robair’s drums upfront and
ominous and the koto keeping closer to its nature.
Then that vocal breather (Kowald has sung this way
before and worked with Sainkho Namchylat so he may
have picked up a tonsil trick or two.) After that it
was all gold to me, Masaoka sounding more harp-like
on #8 (like on her Monk tribute), Kowald slaps fat
rattling lines on #10, it’s hard to see but track 11
might be Robair bowing styrofoam, and track 12 maybe
he’s got the e-bow on the snare? He’s inventive so
it could be a brand new maneuver… This is also on
his label (glad to see its still going). Applaud the
discrete efforts, as much fevered inspiration as in
a 60 minute single session but with more scope and
better prospects to hop into a KFJC playlist.
FWIW, we’ve never met but I’ve always heard Guy’s name
pronounced clue-SEHV-ick. Including by his understudy
Miss Murgatroid! Klucevsek’s accordion is not as
crazy here as her free-based version, or even some of
Guy’s earlier work. Johnston’s alto/soprano sax seems
to pull higher, clearer, cleaner tiny notes out of the
bellows. This is feathery, but with melodies that are
just gorgeous. The Satie tribute (#7) is a start for
that. As is “The Gift” (#4), the slipperiness of “The
Needless Kiss” (#14), gypsy twists in “No More Mr.
Nice Guy” (#9 but sadly *not* an Alice Cooper cover,
would not have surprised me if Klucevsek had done so).
Instead that has a nice Balkan bounce to it. This album
does not rely on shock and gimmicks. The interplay of
Klucevsek’s right hand parrying with Johnston, while he
pumps the accompaniment is no mean feat. Tastes like
European jazz in parts, rising notes, hyperclean sound.
Yet circus flavors waft too.
Three piece from Leeds, heavy with middle names, but lean
with lancing guitar rock. James Richard Islip fights the
drums, roundhouse cymbal crashing and below-the-belt toms.
Lurching along with punch-drunk guitar staggers from Giles
Edmund Joseph Bailey, those drums get KY’s dukes up like
early Don Caballero. Meanwhile bassist Andrew Derek Ross
Abbott is impervious to any of this, steadfast and stolid
he keeps each song on its legs. Thick unflappable songs
that have no problem supporting a ragged, jarring guitar.
Each cut leaves a similar metallic taste in your mouth,
this gang of three seems to have plenty of bite. 80’s
scrape with those always-welcome angry Anglonized vocals
from Bailey. Remember sneering started in Britain. Meat
and potatoes, cooked over an open fire on barbed wire.
Singles collection from Kazumoto Endo released in 1999.
I know KFJC’s own Nancy Reagan proclaims noise will be
at the top of the pop charts in 100 years…but why
wait? This is an album that is bursting with sound,
from the first track that has a throbbing pulse under
the metallic screech of train wheels grinding sparks
out on tracks. A lot of the noise on this has that
almost Godzilla like quality of shearing metal, and
lest you think noise is just random sound, try to
create such gorgeous tortured structures yourself.
In noise, I’m a big fan of the chasm…the space
between the sputtering…and Endo uses that well on
this. Sometimes slipping some J-pop or disco ditty
into those spaces, as if to contrast their week
meekness with his arcing cathodes of sound. Those
moments also hint of digital hardcore, but make no
mistake, this is noise at its most extreme, most
powerful and most glorious. Each time I’ve listened
to this I am struck by the diversity of the din that
Grant Kalaparush his new name, Maurice McIntyre
must seem like another man, a lifetime ago.
In his lengthy absences, one assumes lesser
musicians would have vaporized into myth. But
this CD proves he’s very much alive, indeed
these are all live recordings. Thus fidelity
is okay, but the fluidity is assured. Even
at his speedier cycles, Kalaparush has an
unshakeable lyricism. Thus as he near 70 years
of age, his playing here is fresh, driving. He
is rarely resting now once he’s going, this
makes a nice workout for young tuba player,
Jesse Dulman. Dulman huffs and puffs, and
gets whoops of encouragement from Kalaparush
at times. This release seems to ride on
Dulman’s back…when he’s on the album
succeeds (check the end of #5) but when he
gets soggy, it slogs.
NOTE: This is their debut release and it came out back
in 1998, but aside from jabs at Tabs (Tabitha Soren on
“Hero Worship”) the shelf life on this is still active.
A peachy pair of Georgians, when her ire is up vocalist
Amber Valentine’s sounds a little like fellow hellish
belle Jarboe. Her partner in sound and crime is drummer
Ed Livengood, who provides a lot of colosseum whack to
their attack (he sneaks in some scratching as well
here.) Amber also pedal-pushes guitar distortion we
get something like pop metal with an aroma of glamour.
Amber’s voice can shapeshift nicely: whispery coquette,
hoarse hellion, “rock star” (allegedly the words
tatooed across her knuckles.) This album is prettily
produced, a lot of overdubs…especially with vocals.
I’m not sure how that will translate to their leaner
live set. To their credit, this album gets weirder
as it goes along, and they’ve escaped $ucce$$ so far.
Anthemic anathema from Athens.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File