Blaktronics is supposedly the branch of Physics that deals with the behavior of free blaktrons. The sound here has been described as “a sound that shifts and grows, morphs and innovates, transforms on the edge of your ears, on the tip of your tongue. A sound that seizes the past and hurtles it toward the future, blurring the boundaries of genres and moving bodies. Music that uses technology without ever sounding used.” Good copywriting but is it true? Listen and judge for yourself! AArbor
“Six Nine” is Carl Craig, who was born in 1969. Sound on Sound has been described as “Carl Craig’s timeless masterpiece of sonic grooves”. In ‘Rushed’ Craig samples the synth intro of the new wave jam “Hypnotic Tango” and pairs it up with backwards percussion. “Sub Seducer” has a wonderful distorted wash of sound. “Sound on Sound” is beatless, angular synth sounds. “Poi Et Pas” (my personal favorite) is a reference to “Peut Etre Pas”. Don’t miss – it’s a classic. AArbor
Beatfanatic is from Stockholm but you’d never know it by listening to this record. This is his 1st and from what I hear the 2nd is also great. This one is funky, jazzy, hip hoppy and Brazilian sounding and way fun. His inspiration includes King Tubby, Carl Craig, Sugarhill Records, and Aretha among others. From track to track you never know what you’ll hear and that’s the best part. AArbor
Will Holland is Quantic – we’ve added other releases of his. Here he’s remixing Ghana Soundz (the Ogyatanaa Show Band), DJ Angola (“Bailalao”) and Rosie Brown (“Bliss”). Others like Fink and Pain’ remix his work (“Blackstone Rock and Not So Blue”) respectively. Diverse raw material to work with and very fine remixes. Don’t miss. AArbor
Galaxian is Phil Williams of Essex (UK) who plays drums, keys and bass but here is trying his hand at producing. ‘House Of Wax’ incorporates a soulful guitar and percussion based groove, mashed up with some reggae toasting. ‘Herb’ has high pitched keys and a dub style bassline alongside the Wurlitzer. ‘Telepathy’ takes the tempo up a notch with some swirling strings and a catchy vocal hook. ‘Who Are You’ has some fat beats alongside a rolling groove; ‘Fresh’ has a little movie soundtrack vibe alongside the piano and steel guitar hooks, and, ‘Elevator’ incorporates some monk-like singing. Each track has it’s own vibe and all are worthy. AArbor
A live session from Feb 2005 in New Zealand, it starts off
in a bottleneck blues slide delta. Like Chadbourne’s take on
Albert Ayler’s “Ghosts” the tunefulness of some of the finer
free jazz pillars cannot be overestimated. Cuts to the soul.
Jeff Henderson on alto gets squiggly and shoots a lot of
flame on this album. How well he matches with Cooper’s strings
and wires is the challenge here. At times, they feel like
they’re on different continents, but that friction provides
energy. And then other moments, they are right there. Like
on the leader on Side B, Henderson chases a Sonny Sharrock
rainbow with Cooper bending the colors, then keeping the
steel in agitation. At times the power of the sax is just so
much stronger than Cooper’s lap steel, and the mix eats some
of it up too. Beating out breathing room is often Anthony
Donaldson on drums (flatly mic’d, but hotly flay’d). When
Cooper turns to the knobs and waves, as on an extended slice
of side A, it’s a nice whirlwind of sound. On the b-side
similar section is much more subdued, and quick flicking of
not-even-scales. Spritzy! The blues of this fine Qbico freeko
are a lot richer than the stringy blues upbringing for Cooper.
He’s had an amazing series of improv collabs since wayback,
and here’s another nice one. -Thurston Hunger
Well this one is a fine howler of a release, with some sort
of sinewave vortex sucking animals in and out of alternate
universes. Ceylon Mange consists of the trinity of Dylan
Nyoukis from Decaer Pinga and other things, working with
Karen Constance and Bill Nace. This album begins with just
about the prettiest spooking of the horses I’ve heard in
some time. There’s a loop of something that sounds like EVP,
well it ain’t earthly…and they bring that in and out of
the mix a couple of times, with some lonely saw. Instant
twilight zone with that. High freq circles transmitted as
eerily pure. As side A spins inward, the sounds are less shrill
and organic, and more muddlingly mechanical. Still definite
Halloween haunted house potential!! The flip (finger) side
starts square bell clanking, a little guitar dragonfly buzz
against a meshy window vibe. Then it is more submarine
transmissions for awhile, a welling up of sprayed silences
and more tunnelling towads a flock of electromagnetic birds.
Zap-a-dap-a-do! Hard to tell where one track dies and another
lives, same may be true of the sound sculptors here. These
wolves are not just baying at the door, they’ve got a key!
Nice noses for noise! -Thurston Hunger
Local MC/producer raps full of positivity over clean, jazzy backing tracks. Kero One’s lyrics are about moral choices and making the right decisions. He’s not preaching, it’s all told from a personal viewpoint: this is what happens to the young man and this is how he deals with it. What goes on every day in real life isn’t pimpin’ and big bankrolls- it’s going to school, working a job, staying positive, and making music that means something. No, it’s not glamorous in an MTV-video-full-of-half-naked-bitches-and-a-ton-of-bling way, but I bet you can relate to what he’s saying, and that’s all that matters. The beats are dope- not weird at all, just totally funky. Kero One plays real live instruments himself (bass, keyboards) and has a few guests on sax, guitar, keyboards, and vocals. Production help by DJ King Most. All tracks clean. Dig the message!
Impressive 1974 material by this somewhat obscure alto saxophonist. Farrah, Norman Person (trumpet), and Milton Suggs (bass), fine players all, are on every track, working with a different pianist and drummer on each side. Side One includes a straight-ahead bebop-style cooker and a ballad number. Side Two leans more toward the funky, with a couple of extra percussionists, and some especially good work by pianist Sonelius Smith. The title track is outstanding, with its meandering melodic lines and thoughtful soloing over a massively funky groove. I was not familiar until now with the excellent Strata-East label, which reportedly released somewhere around 50 albums during its existence. They focused on the jazz aspect of raised Black consciousness in 1970s America, with powerful releases by Clifford Jordan, Charles Brackeen, Pharoah Sanders, and Gil Scott-Heron, to name but a few. Needless to say, material not to be slept on.
More free flow jazz, cut on lines of effortlessness but
sharpened by harder materials. Rob Mazurek and Chad Taylor
have the sort of telepathy other duos would die for. On this
lp they intersect on some keys in the physical plane, but
ebb and flow on higher highways. This is the preeminent modern
soul jazz. Dizzyingly sweet with the fragrance of Taylor’s
percussion, cymbals just blossom in his hands. Mazurek’s
mingling of electronics and brass has never worked better,
the cables have found a way to snake through the shadows
here…and his arsenal continues to grow! Still that tight
cornet calls it all together. Both gents drop ripples of sound
into various tracks, “Pangea” summoned a deeper darkness than
the typical iridescence, that track really stood out for me.
“Funeral of Dreams” finds Taylor leading a shadow dance across
gongs, Mazurek mean while is the wind stirring sand. “Glass
House” is a menagerie of mbira. The title cut is the plinkiest
pondering they’ve delivered for the first part, halfway through
Taylor rouses Mazurek from the piano and he’s off: that lip
quivering br-r-r-r-r-r-rrepp, some growl then emphatic muting,
but by the end soft as the moon’s shadow. One thing I’ve always
dug about the Duo is how quickly they can find an oasis of
gentle grace no matter where they were seconds ago sonically.
Trust in these two and the path they offer. -Thurston Hunger
Eponymous 2000 debut from Stefan Schneider (of To Rococo Rot)
as Mapstation. Heavy focused simple beats on the A-side
serve as a distracting disc traction, while more interesting
gurlings and burglings battle it out in the spaces between
their emphatic landings. On the b-side lead-off track, we get
waves cresting again with insistent top sounds, while lots of
whispery electronics flourish less perceptibly beneath it.
“Elements” has a sort of exercise video rhythm, and 1 and
2 and 3 and 4 BREATHE… This time the little sounds are
microscoped up more on top, little echoing zaps…then
knocking aquatics, lead up to a sort of German bassline.
Love the ending to “Elements”, square wave to silence. Lastly
“Marden” wobbles on to the turntable, a sort of IDM feel
with those kinda funny austere bounces of sound. Brrr-EEEER.
At the end, we get a little nitty gritty clicky for a bit,
as with “Elements” before it the ending could have gone on
for a trancey bit more for me. -Thurston Hunger
Schaefer breaks the rules again, this time using a one-sided 12″LP packaged with a 3″CD. First the “Skate” LP: he used a primitive audio technique to cut what he calls “sound scars” (aka “grooves”) on it. The scars aren’t connected to one another, nor are they locked grooves; just a bunch of roughly-cut injuries to the vinyl. Spin the LP on your turntable and your stylus, attempting to play those grooves, skates around, looking for a home. Hisses, rumbles, and scrapes ensue, along with bursts of silence as the stylus leaves one scar/groove and hunts for another. Sometimes the stylus finds a place it likes and stays there a while, but it always leaves eventually. The composition is never the same twice. Schaefer suggests trying different turntables, different speeds, even turning the record by hand while playing. “Have fun!” he says. Then there’s “Rink”, the 3″CD: It contains 99 tracks, each one a different recorded result of playing several of the “Skate” LPs simultaneously at a 2001 sound installation. As if there wasn’t already enough randomness in the way the sounds were generated, the artist of course recommends playing this CD document of the event on random mode to add yet another level of unpredictability.
This CA duet of Ilya Monosov and Preston Swirnoff play 2 black sides of untitled almost-drones. Monosov lays down a creepy background on harmonica and/or hurdy gurdy. The hurdy gurdy I can expect to serve a greater drony purpose, but the harmonica? It takes a slightly twisted mouth to take all the joy out of that harp. On top of this, Swirnoff plays melodica, organ, and/or piano, picking out notes or compatible drones or tone clusters as their imaginations see fit. He is not above heading to the inside his piano to find the needed notes. Sometimes they switch roles, like on Side B track A when the melodica drones and Monosov plunks on both his instruments. But then again, sometimes they’re indistinguishable, especially between the melodica and harmonica. Sometimes three or four instruments are going at once; this was probably and hopefully achieved without overdubbing. Side B tends to be a bit more happening, what with the instrumental ambiguities on track A, the (relative) wealth of individual notes played on track B, and the industrial drone (with organ) on track C. Is there a narrative underlying it all? Unclear. Probably not.
-Cujo, KFJC, February 2006
From the fishies (that graced the cover of the Qbico New York concert album we added to the library a few months ago) to the monkeys (Brussels). This is a double LP release pressed on lovely two-tone vinyl of a concert produced by Qbico on April 8, 2004 in Brussels.
Side A starts with a lengthy double bass solo (full range meandering, high register exploration, a bit playful) by Alan Silva and concludes with a short percussiony pocket jam by the Finnish duo Lauhkeat Lampaat.
Things really start to take off on side B & C when the Vibracathedral Orchestra go for a lengthy walk in the park. Their piece is wonderful culturally-ambiguous drone that’s at turns asiatic, tribal, bagpiping, electric, rocking, and finally hypnotic.
On side D, the VO is joined by Lauhkeat Lampaat and pals Paul Faherty (alto sax) and Chris Corsano (drums). The result is a bursting jungle safari rock-drone that builds and ebbs in layers and complexity; Lauhkeat Lampaat’s inanity and Faherty’s wide wailing contribute the most here.
The actual recordings are a bit weak, as is the audience applause that follows all pieces.
-Cujo, KFJC, February 2006
Finland’s Esa Ruoho, using the self-deprecating moniker Lackluster, follows the same basic formula on each track here: all instrumental, pleasant, synthetic music with beatbox rhythms and keyboard patterns intertwining, somewhat similar to the Schlammpeitzinger sound. Then he adds Moog-ish melodic lines on top. Although he’s working strictly with synthetics and beats, there’s no techno here; it’s a nicely human sound without any harshness. Even the jumpier tracks have a soft, smooth feel. I wouldn’t call this music lackluster, more like chilled-out and refreshing.
he title sets the tone for an amazingly confessional album,
and the vinyl delivers. Much will be made of her Bloody
co-pilot, Kevin Shields, but Charlotte Marionneau is the one
flying in the clouds sans wings, sans prayers. The vocals
are pillowy hallucinations, triple-tracked and hazy with a
criminally subliminal vibe. The volume often curves down
with its hair hanging in its face, half of the lp features
Charlotte whispering teases to an acoustic guitar. Happy
blues, like “Sitting In Your Head” or cute clueless killer
like the title cut. Nice production touches in the shadows
between sounds, and the overlapping voices do raise the
delirium a tipsy notch. Is a French woman singing in English
still a chanteuse? She does try on other clothes besides
vagabond, folk-gazer/drifter. Piano cha-cha for Nina Simone’s
“Ain’t Got No…” Then with “Who Are You” Charlotte gets
stuck in a squelchy sample squeezer, similar to its sister,
on the great gaspy “The Mind Is A Horse.” “Hanging Around”
has a silliness that overcomes the dorkiness of the initial
synth loopy line. The closer “Locarno” lands on a darker,
dubbier side of the Moondog, when she sings “He scares me,
he’s beautiful” I’m more afraid for “him” whoever he is.
Bass transmissions jammed, overloading the undertones and
overmatching a wind-up drum machine. This delivers noise that
burroughs and kicks scratchy signals out while it does so,
emitting more pulses than beats. Maybe even some EMR going
on here as well, crazy electronics have a way of come up
through the fissures of Detroit. At times listening to this
felt like being in an electric oven, I felt I could hear the
coils charged up, the iron popping atom by atom, and I could
taste the thick heat. The last track thins it out a bit, but
overall little deviation from the dungeon here. Maybe adjust
the rpms to take your own spin out of this din’ Not sure
where the gripping title Gary Beauvais chose, comes from?
Is it a plea from the torturer, or the torturee? -Hunger
CFTPA is Owen Ashworth, a twenty-something singer/songwriter who brings us “tiny, honest tragedies in the lives of fairly average young people” (his words). He accompanies himself with electronic keyboards, distorted tones, and Casio beats. Super-simple, solid, chord structures. When all is said and done, it’s Ashworth’s lyrics that stay with me. They’re small in scope, possibly a bit nerdy, and among the most romantic I’ve ever come across. He’s listless but hopeful as he sings about lovers, dreamers, and loners. It’s all so sad but true. Outstanding, distinctive songwriting.
Yep, recorded on Christmas Day? East-coasters Brian and Nate of Mouthus have collaborated before with West-coaster Karl of Axolotl, and here they are hooking up again for two crazy, side-long, abstract raga-like excursions. A good guess would be that it’s mostly guitars used here, but with some of the sounds it’s hard to tell what is doing what. The yellow side, at 19 minutes, leans more toward laid-back and quiet, though it does have moments of tension. The green side, at 20 minutes, seems more agitated, heavy on what sounds like fuzz bass. If you enjoy ringing, fuzzy, reverberated loops, you’ll get your money’s worth here. I liked both sides equally for deep listening, but found the green side’s energy better for running around doing housecleaning.
Brilliant jazz, but in the weirdest sort of way. Arthur Doyle plays sax and flute, and throws in some nonsense vocals from time to time. The sound of the Ensemble is in constant flux; it’s a crazy stew full of abstract bebop, loose improv, and electronic washes. Doyle calls it “free jazz soul music”, and that about covers it, if such a thing includes Sun Ra-style spaciness and samples crackling along in the background. There are several places where Doyle lets the band do their thing and he doesn’t play at all, the sign of a savvy bandleader in my book. Recorded live at two clubs in upstate NY. The sound is muffled and distant, though; from what I have heard, he records his performances with a portable cassette recorder. Doyle’s a true original. You gotta check this out.
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