Radio Phnom Penh – s/t (Sublime Frequencies)
More radio transmissions from SE Asia courtesy of Alan Bishop, this time from Cambodia. Authentic Asian 60’s pop with somewhat tribal beats sound underneath. The feel of classically trained musicians having fun in pop expressions of celebration. Lack of production quality is outweighed by the crisp execution of pop constructions that are probably well known by all in the village for generations. Familiarity to the point of an unstrained memory of passages that give a flowing sound around tightly arranged and performed tunes. If you liked Neung Phak’s “Tui Tiu Tui”, why not get a taste of the real thing !
Radio Phnom Penh – s/t (Sublime Frequencies)
Ellery Eskelin – Ten (Hat Hut Records)
10yr anniversary of the outside jazz trio of Eskelin, Parkins and Black. EPB explore underdeveloped textures in jazz. Forget the Grey Poupon Shit, ‘Ten’ is alive with spirited lyricism of theatrical quality and force. Marc Ribot appears on guitar on last half of cd. Jessica Constable delivers stellar vocal energy on 4 tracks, comparable to Fontella Bass w/ Art Ensemble of Chicago in feel. 2-8 minute tracks, adventurous sound. No formal attire required, just a head for sound reflection.
Ranaldo Licht Krieger DJ Olive Marclay – Text of Light (Table of the Elements)
Drifting, mesmerizing drone traverses the depths of sonic possibilities. Signals, feedback and transmissions pulsate in a collective continuum. Like a beam from a lighthouse, guitars cast in and fade out leaving you to ponder the complex ultra-ambient soundscape. Waves of combined sounds emanate up from the pulses of each artist’s contribution. Two guitars, percussion, turntables and electronics make for dense textures. Masterful timing gives this free improvised offering a stellar compositional quality.
18m=> play the whole damn thing !
William Hooker Quartet – Lifeline (Silkheart)
(1) Loosely woven alto sax runs accent the percussive conversation b/w Wm Parker and Hooker. Double sax solo opens into main theme followed by a Hooker recitation then 40m+ of blowing and pounding. Not as edgy as a Vandermark or Brotzmann piece, it flows fluently, unburdened by structural constraints, as if exploring the edges of familiar territory without wandering. (2) ts-trb-pn-dr, Chamber jazz w/choppped piano and recitation setting up a blowout. (3) same instr as 2, a Muhal Richard Abrams type blowout (Wise in Time-condensed w/o percussion). Refined yet relentlessly unleashed jazz energy.
3w: Flowing Forceful Free-verse
Parker Drumm Zerang – Out Trios Volume 2 (Atavistic)
A musical maelstrom of free sounds from 2 gtr w/ elec and drums of the organic noise variety with fuge-like interchanges as home base. Sounds like what the main character of Memento heard in his head when he tried to remember shit. Flashing, percolating meshes of sonic sorcery with sustained ferocity. The 2nd release of the Out Trios on Atavistic but definitely not 2nd place stuff. Ranges from an active continuum of surging flashpoints with chopped guitar to Hafleresque soundscapes with driving drums or chord progression mutations. Out of the Chicago scene, Parker (Chicago Underground Duo, Isotope, Tortoise), Drumm (Vandermark territorial band) and Zerang (Solisitice w/ Hamid Drake) get OUT and take you on their journey to the other side – the OUTSIDE ! “Onslaught” smashes the sonic barrier.
3w: Massive Memento Maelstrom
David S Ware Quartet – Oblations and Blessings (Silkheart)
No bowties here, this is the HARD stuff ! Jazz in attack mode elegance and ballad ballistics. Ware catches the TRANE out of town and out of the stratosphere, blasting the quartet’s way to new truths communicable only in phrases of music. The musical messages within have concise urgency like a war zone reporter on a 1m call to the main bureau. This is Ware in ’95 backed by Shipp, Parker and Dickey – a classic quartet of ts-pn-bs-dr whose heritage is of pure late Impulse era Coltrane Quartet stuff. Undeniable momentum forward, upward and OUT, leveraged by Shipp’s McCoy Tyner/ John Hicks style of comping.
3w: Coltrane Resurrection Revelation !
This is one of the most memorable releases I’ve heard in awhile. Corrina Repp (her parents named her after a Bob Dylan song) is from Portland, Oregon and has been playing music in various bands for 10 years. This was released in fall 2004. In style it’s similar to Cat Power, with its spare instrumentation and lovely female vocals. Very subtle piano, guitar, and slight electronic moments. This is mystical! (added 2-8-2005)
From 2000. Treatises on love that blend elements of classical, jazz and poetry. It begins with male vocals and classical piano (track one), moves to dramatic strings and piano (track two) to spoken word and operatic (track three) to crazy drama with male throaty vocals that can rival the best metal performer (track four) to jazz-inspired with scat singing (track seven), along with some instrumental tracks glueing it all together. (added 2-8-05)
This is another release (pulled together in November 2004) from Sublime Frequencies that collects musical gems from around the world. Sumatra’s been in the news lately in the weeks following the December 2004 tsunami, so it’s nice to harken back to some less tragic times and hear Sumatran folk and pop music circa 1960s through the 1980s. It’s quite a range, from Indian-style pop to more sedate folk with simpler percussion. Strings, psych, crazy pop, and some nice female vocals. Track 11 is a pleasant folk song with male and female vocals. (added 2-8-2005)
Sad World is two people: Dr. Atmo – real name Amir Abadi – a DJ/composer/architect and Ramin – full name Ramin Naghachian – both born in Iran and currently living in Frankfurt, Germany. (Fun fact: Dr. Atmo performed at and designed Frankfurt’s XS club.)
This 1996 release combines the first two Sad World CDs, orginially released in 8/1993 and 5/1994. We also have the third and last, Sad World III, in A. All three are on Pete Namlook‘s FAX label, one of the leading purveyors of ambient music.
Sad World is ambient electronica with a strong Middle Eastern influence. The track names evoke a time of greater glory for Muslims with great halls like Apadana, cities like Samarra, which was briefly the capitol of the Muslim world, and Cordoba, the center of Moorish culture in Spain.
The music on these CDs contains some relatively brief tracks of 5 and 10 minutes and one longer tracks of 20, 30, and 40 minutes. They contain synthesizer drones, interesting samples (voices from American broadcasts, choirs, talking, chanting, singing children), instruments like sitar and, I think, a didgeridoo, sometimes there are downtempo drum loops giving the hint of rhythm.
You can actively listen to these tracks and trace their slow development and changing textures, or you can just float along with it and enjoy the ride.
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
Originally released on Map City Records in 1970, this is a 2004 re-release from Radioactive Records, an interesting label that specializes in reissuing innovative but rare music from the 60s and 70s.
Purple Image is from Cleveland, Ohio, and this album containing five tracks is the only one that they released. That’s a damn shame, too.
It kicks off with Livin’ In The Ghetto, a blistering amalgam of rock, soul, and funk that sets the tone for most of the rest of the album. There is also some slower, more R&B-style music in the middle with vocal harmonies reminiscent of The Persuasions. It ends with a 15 minute extended rock funk jam featuring flanged drums, space guitar, wah-wah guitar, face-melting guitar, and even a harmonica. Bass is mixed high throughout, which pleases me.
The lyrics are upbeat and positive as you might expect in songs with titles like We Got To Pull Together. Female and male vocals with the male vocals sometimes trading off a la The Temptations. Influences: Sly & The Family Stone, Jimi Hendrix, Parliament, and the bands mentioned above.
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.
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.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File