1972 a completely fascinating audio enchantment. Fontaine
sounds strong but soft, subtle yet striking. She’s always the
focal vocal point accompanied by sparse backing and sometimes
just naked by herself (or herselves as several tracks feature
great moments of Brigitte multitracked like the beginning of
#2, #6 & #8 which features gaspy sobs as well!) At other
times she’s pitched up against a more gravelly male voice
(Areski I believe who she would record more with). It starts
with a breezy folk-pop smile of a song but boom #2 kicks off
with a piercing shriek. On track #3 we have a few seconds of
audie realite babysitting, then #4 a ponderous chamber ditty
that recalls Nico. Before this scant 30 minutes is up you
will have heard incorporated a cuckoo clock approach, a
harmonium harmonizing with Brigitte and then protest shouts,
sad pining with an Arabic lilt (Areski’s influence?), other
moments that feel like hymns and it ends up with a kind of
proggy number. Lady Fontaine is a champion chameleon, an
artful performer and in my estimation an absolute and
essential genius. French and twisted! Worship her.
1972 a completely fascinating audio enchantment. Fontaine
Despite a leading gentle mantra guided by Hamid Drake’s vocal
prayer, frame drum and soul…do not be deceived, this is
**horsepower** jazz. Peter Brotzmann knows how to whip up a
stampede. He rides into the fray with a gypsy’s tarogato,
calming cycles to go with Drake’s dream chant… But just
shy of six minutes, skyscrapers of sound shoot up through
the idyll. Cue the lurching Longberg-Holm cello…unleash
the dual drumheart of Zerang and Drake pumping at more than
capacity, and the race has begun. Brotzmann has amassed
some mighty thoroughbreds…plenty of NRG and BBQ to keep
the fire music flaming…but “Stonewater” does have some
stillness running deep in pockets. Ultimately it is the
sputtering saxes that stand-out, I’m telling you I hear
horses…lip-flipping, braying, raging stags. So even when
we get a little clarinet soft-shoe around 18 minutes in,
and then a very faint cello/bass duo, I’m waiting for
the hoofs…which leap in almost like a bad edit. For all
the fine playing, track one is acoustically imbalanced.
The second tracks stays strong throughout, a nice brass
oven at the end of its first third. The piece pauses
for a trumpet soliloquy at 13:36 (McPhee?) then it’s
over to Gustaffson for his pyrotechnique. Late in the
piece a drum duet locks in, invites in a swinging set
from the whole twelve and boom, a cliffhanger ending.
Years of music barely fit into 67 minutes, escape words.
Listen, follow one player for awhile, repeat..
Roper’s tuba is smudgy and thick, he also plays the
conch shell…and this reminded me of one gigantic
conch shell at the bottom. Wong’s sax is smoky but
not so much so that you cannot see Bobby Bradford
darting in and out on cornet. All of these are
improvisations that work just fine on their own…but
on several of the pieces, Roper puts down the tuba
and delivers some monologues…that even when tackling
touchy issues like segregation (#4) do so with a noble
sort of whim. He’s not singing, but his voice is so
rich and sonorous that you want him to keep on talking
despite it somewhat distracting from the music. Well,
I sure…did he seems like quite a character, check
“You A Square.” If you want the straight music, they
have got you covered as well.
Archival audition to the museum of Marley. Soul stylings
especially accentuated on side A. Sweet falsetto and
puffy clouds of background vox help trip the R&B lite
fantastic. All but one track dipped in LSP, still keep
the original familiar Wailer flavor. Johnny Lover and
U Roy toast up three tracks. Dubs fill up the bottom.
Beak-tweaking pop from this Brooklyn Quartet. Yvette Perez’s
queerly cheering vocals and kewpie paroxysms ride on top of
a great trio of horns. Betty Boop over bop? Actually the horns
(two saxes and a trombone) sound like marching band refugees
trying to capture Albert Ayler in minimalism? The songs are
quick to flight, the album breezes by in a feather over 20
minutes. Perez’s vocals are stacked in teasing layers, they
definitely add to the braininess. The birdiness comes from
some of the horn’s tooty tweeting, and staccato woodpecker
sections. There are a few avian persuasion lyrics and a fowl
sample or two, but this stays fair and delivers a homerun
for fans of herky-quirky.
This is the 4th full length release by the BellRays, originally released in 2003 by Poptones. It’s being re-released on Alternative Tentacles and won’t be available until later this month (1/2005)
The music on this CD is “Rock & Soul,” fuled by the power of singer Lisa Kekaula’s soulful and expressive voice and Tony Fate’s driving and equally expressive guitar work. The band is from Riverside, but their sound is from Detroit.
The quality of the tracks is pretty uneven, both in the songwriting and the playing. And there is a self-seriousness in the music and liner notes that is off-putting. But on the tracks where everything clicks (especially 5,7,8,12 in my humble opinion) all is forgiven.
After listening to this CD you’ll no longer wonder what Aretha’s albums would have sounded like if Steve Cropper was replaced with Tony Iommi.
Language: Fuck on 3
Use the track listings on the inside of the liner notes. The back cover doesn’t contain the full track listing.
This is an EP of four instrumental hip hop remixes by a mystery man named Mr. Bambu from Gainesville, Florida. It was released 6/2004. (This is his 2nd EP after The Disconbobulation EP.)
Tracks A1 and B1 are remixes of a song by fellow Floridians Burgundy Romance. The first one features rock guitar. The second one is longer and more down tempo with electronica sounds, including that Roland cowbell sound.
A2 is a remix of a song by Mercury Program (also from Florida and sharing a member with Burgundy Romance) that is abstract and appropriately spacey.
B2 has a harder sound with fatter drums and a rock/funk vibe.
All remixes are instrumental, and the more I listened the more it grew on me. Check it out!
Alan Bishop (nee Lomax?) of the Sun City Girls
undertakes an underground and afterhours look
at international music with his strongly
self-run Sublime label. Ears in armchairs
get a whiff of the enchantment, as well as
smoldering flesh at funeral pyres. Some of
these recordings are truly in the *field*,
with Balinese flora and fauna. A good number
are “fast food gamelan,” quick glimpses into
lengthy performances. These sections have
more agressive flourishes, like a dog tearing
at something: violent shakes of sound. Then
diamond dogs do drop in on #14, I wound up
wondering about the stories behind that and
other tracks, (at the end of #17 we overhear
“I thought he was the police”). Hopefully we
can get Alan on for an interview. “Rubber
Television” mixes raindrops and teardrops
for a radio soap opera.
Supersmeared trumpet from Supersilent’s Henriksen. With a
no-hassle, yes-Hassel vibe the palate here is warmer than
the first six slices of Supersilent. And pieces are shorter
sketches of sound. Here Henriksen’s tiny voice, which often
stands in striking contrast to the monumental Deathprod’d
musical monoliths, instead helps bring us down through a
microscope into a smaller world. Nano-whales spout muted
streams; percussion from Audun Kleive is like subcellular
flagellae, gently whipping at beats. The straining of
Hernriksen’s trumpet (it pines like a shakuachi on #7)
can give this a mistakenly elegiac aire, but I think it
is really an album that is at peace with its smaller
and more subtle nature.
RIP Charles Arthur Russell II – April 4th, 1992. Arthur
might still be championed as a lost visionary even if
his life were not lost to AIDS. He helped stage shows
at the avant-kookery known as the Kitchen in NYC but
he also had a predilection for disco (releasing a
dance discs under names like Loose Joints, Dinosaur L
and Indian Ocean). This posthumous pop release reissues
an album “Corn” along with other kernels. I have to
confess, “The Platform on the Ocean” is nearly perfect
for me. His loose-lipped, note-cloud singing I enjoy,
especially when dipped in quick reverb as he does. His
cello flies in askance and belies his brief tenure at
Ali Akbar Khan’s Marin college. Gotta find that lp of
his solo cello work. Certainly his boogie nights see
the light of day on this, drum machines skip and prance
to prod tracks. His vocalizations may steer some clear,
but I’ll take them time and again over Jennifer Warnes
(on #6). His vox are the ghost in the dance machine!
It’s a tragedy that his life will be defined by the
success others he shared time and rehearsal space w/
went on to, instead of his own.