Like ROVA, MTKJ feels so strongly bout the connection between
members that they’re all in for a letter and all in for the
long haul. (Well ROVA stuck with it even when it became ROAA)
Anyways this is NOT your father’s West Coast jazz, nothing
as sunny as a convertible drive by the beach, instead we’re
looking over the edge of windy, desolate seaside cliff. We’re
treated to stellar composition, utilizing dramatic pauses
(tightened by Paul Kikuchi’s snare rolls) and major thematic
shifts, check out the 3 minute mark into the leadoff track!
Just gorgeous, later that same piece sounds like Salt Peanuts
are mixed in. Composition includes other moments of homage
along with setting up great dual play between Kris Tiner’s
trumpet and Jason Mears’ reeds. Everyone gets a chance to
solo shine, including bassist Ivan Johnson who can tiptoe tap
on the great intro to #4, or get rubbery as he desends down
the end of the final cut, leading a Mears landing. The album
title speaks volumes in the silence these guys keep alive
like fragile bubbles in convoluted metal sculpture pulled
through a soap rinse. Gaze with your ears.
Like ROVA, MTKJ feels so strongly bout the connection between
Nomo is a 17-piece band from Ann Arbor, Michigan led by composer/arranger/saxophonist/etc. Elliot Bergman. This is their first full-length release, released in May, 2004. And it was produced by Warn Defever of His Name Is Alive. Nomo has also released an EP previously, 2 songs of which are on this release.
From the tight horn section opening to the woman singing ‘la la la? fade out, this CD is great all the way through. It is Afrobeat/Afropop that leans variously towards jazz, reggae, space rock, and other genres. Fela Kuti is the spiritual godfather of this band. Think of them as a jazzier Antibalas that doesn’t want to execute Bush’s cabinet.
It’s amazing that this many musicians (4 percussionists, 6 horns, several guitarists) trying to meld this many styles is anything other than a big mess of ‘world music.’ Instead they are tight, keeping a steady beat and theme going while different instruments (sax, fuzz guitar, Fender Rhodes) solo over the top.
All tracks except for 4 and 10 are instrumentals.
‘From Belgium to Detroit – with respect? it says on this LP, a re-release by Belgium’s Buzz Records of this compilation of early Detroit techno music.
It was originally released in 1992 on Derrick May’s Transmat label, and it covers Detroit techno from 1986 to 1990 with tracks from Carl Craig (Psyche, BFC), Juan Atkins (Model 500), and mostly Derrick ‘Mayday? May (Rhythim [sic] is Rhythim [sic]) who has over half the tracks on this album.
Some of Mr. May’s tracks hadn’t been released before or even been given titles. They show up titled as ‘A Relic? or ‘Another Relic.’ In between each track is a weird little ‘interval? less than a minute in length performed by Messrs. May and Craig.
The artists on this album were influenced by Alvin Toffler, and in Detroit in the late 80s the decline of the Second Wave was more than a abstract concept. Amid the decay they created a musicical version of the Third Wave, in which man and machine (in this case a Roland synthesizer) would merge and form something far funkier than the sum of its parts. The use of the word techno to describe the music was lifted from the techno rebels in Toffler’s book Future Shock.
All tracks are instrumental and entirely synth-generated. The beats are relentless, and everything else – melody, synth-strings, chords – are merely there to support the beat.
triosk – “moment returns” – [leaf label]
triosk administers measured yet delicate doses of minimalist meanderings and moody muses to create an aural tonic that is smooth, sensitive and sophisticated… no bitters here. “moment returns” mixes well with both psychoacoustic sound clash and downtempo acid jazz with equal ease. sparse sound samples form an interactive organic environment which complements this contemplative piano trio nicely.
Founded in the late 1970’s by guitarist Ibrahim Ag Alhabib,
Tinariwen has been a loose collective of soul soldiers and
guitar shamen ever since. If blues is born of pain, then
these Tamashek men and women, driven from their native Mali
for a stretch, still feel that sharp emptiness…it’s built
into their name which allegedly translates as “desert” or
“empty spaces.” The burrowing guitar is a striking signature,
present on all cuts here except the floaty flute and chant
drone that closes the CD. The guitar is usually under chatty
call-and-response vocals that are infectious enough to sing
along with despite no clue what is being said. While the
guitar can recall the pluck of the Ex, and the electric zap
of Junior Kimbrough, it really is a unique flavor to savor.
Elements of sauntering reggae rhythm, gnawa loops, french rap
are captured as well. Dig that mod mad nomad sound!
Solid battering-ram rock from Italy’s Theramin targetting our
shores with english lyrics… and “talks” too, as featured
on “Near by the Saint Leonard river” which wisely tells us not
to think too much. Drummer Sacha Tilotta offers said talks,
and when he’s not a ponderer, he’s a pounder. Drums on this
album sound great and fight for life. Tracks often go through
stark passages where either Sacha’s drums or Stefano Garaffa
Botta’s guitar drop out for a few bars before dynamics damn the
torpedoes and full boar ahead. Good yelping female guest vox
by Giovanna Cacciola on “In My Place.” String suite sweetens
“To Be Away” which like much of the album features prominent
and vital basswork by Michael Herman, a key to heavy-hitting
rock. And this here is some kinda Italian Kung Fu which lands
Thurston Hunger 11/21/2004 A Library
Igeno ain’t bliss, but it is burnished and blistering rock
done as if by magic without a lead guitar. Black magic indeed
with smoke coming out of Luca Tommaso Mai’s saxes, on two
tracks Ken Vandermark doubles that damage. Additionally two
other Chicago Brotzworkers join in the fiery festivities,
but Zu really needs no assistance. The rhythm section of
Massimo Pupillo on bass and drummer Jacopo Battaglia, they’re
sort of an Italian answer to the Ruins. They provide an
infernal (lower-case m) magma of sound. Pupillo’s basswork
is active, with chord flashes and quick fingerwork to make
one almost swear that guitar is present. Or maybe that’s the
contribution of live soundman Alberto Mattaroccia. Crunch
and feedback whinny fit so well with the angry horn work.
A powerhouse release, with unquenchability.
Thurston Hunger 11/17/2004 A Library
Panicsville “Imperfections of the Organism” 33
Transmission jamming frequencies emanating from Chicago, with
Andy Ortmann the main dialer/dealer of this sordid sound.
Wet whispers, geiger ticking, round bouncing waves supplying
secret rhythms. Pseudo-stuck scratches, laboratory alarms,
turntable twists, faulty ignition sequences, all systems
are gone, way gone. Atari games to the death? Robovox gets
passive aggressive in the middle of the socket stew of “Radio
Wizard” leading up to warped discharge on women’s periods at
the end. Chaotic but never a cacophony…really a diverse
delight for tired ears. Occasional human yelps, duck calls(?)
and other swiped sounds, but ultimately the hero of this story
is electronic equipment, with its own many flavors of stunning
imperfections. The band name is taken from Patty Duke’s
exclamations (where does her empire of influence end?). Aside
from the split 7″ with John Wiese, this ought to really put
Panicsville indelibly on KFJC’s map. Visit often. -Hunger
This collection by Honest Jons covers semi-obscure soul singer Bettye Swann’s career with Capitol from 1968 and 1970. (Her work with Money Records was recently released on Kent Records.)
This is country-inflected soul music that will have you singing into a hairbrush or crying into a beer, depending upon your disposition.
ESL Music has re-released sound engineer and Frenchman Chris Joss’s 3rd album and added two tracks from his 1st album The Man With A Suitcase and a Flash video of the single Discotheque Dancing.
This album is paying homage to the 70’s with its waka-waka guitar, disco beats, and Hammond organ while at the same time the clear production, occasional sample or scratch keeps it sounding fresh and new.
The tracks sound like the theme song of a cop show I wish I could have seen or a porno ‘I’m glad that I didn’t. You can’t go wrong playing one of these instrumentals.
If you ever find yourself evading the police in a stolen Ford Torino make sure to pop in this CD.
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