Mellow, tripped out electronica from Canada. All instrumental, with the exception of some spoken vocal samples on track 1. Tracks 2, 4, and 7 are more ambient, while the others have a bit of a dance beat to them. All very mellow and relaxing, just the thing to listen to during ‘coming down? part of your rave while the light-sticks are fading out and you are eating the candy necklaces.
A re-issue of three Glenn Branca pieces.
Track 1 (‘Lesson #1 for Electric Guitar?) is a shimmery, ambient piece of minimalist guitar music.
Track 2 (‘Dissonance?) features multiple tempo changes and some frenetic and chaotic percussion (including sledgehammer). Listening to it gives me a palpable feel of dread, probably a result of the cognitive dissonance of listening to these ‘rock? instruments creating what is clearly a neo-classical composition.
Track 3 (‘Bad Smells?) is a neo-classical guitar piece in several movements. It starts out with a kind of up-tempo prog-rock beat, then dissolves into chaos; after surfacing briefly as a funk-informed drum-and-bass jam, it then tumbles over the cliff of chaotic guitar chords over a bed of pretty synthesizer chords.
There’s also a quicktime video on here of ‘Symphony No. 5?, a guitar/drum/bass drone. The sound quality is pretty terrible on this (I can see the drummer, but I can barely make out any drumming), but it is amusing to see Branca ‘conduct? by leaping and convulsing about the stage like David Byrne on PCP.
‘Lesson #1 For Electric Guitar? and ‘Dissonance? were originally released as the two sides of a 12″ single in 1980. ‘Bad Smells? was originally released in 1982.
Heavy minimalist instrumental rock out of Norway. The bass and drums lay down heavy, thudding grooves and guitar and violin/viola screech over the top. This is music designed to be played loud enough to peel paint. A couple more dark/ambient pieces as well, if heavy thuddery doesn’t do it for you.
Tracks grouped by type:
1, 3, 6 – Slow and heavy.
2, 4 – Upbeat and heavy.
5 – Speed-metal fast and heavy
8 – Starts off speed-metal fast, transitions to mid-tempo, and then ends with about 1:30 of industrial ambient drone/whine.
7 – Synth-organ chords with and old man (the Violist’s grandfather). Singing in Norwegian. Darkly pretty and more than a little creepy.
10 – Industrial drone with a sparse drum beat. Piano chords start showing up about halfway through.
Liner notes are bizarre. To read them, it sounds like they are a country band recording in Nashville (‘plain, honest, down-home music?).
stingray 1/14/2005 A Library
While Mush Records is a hip-hop label, this doesn’t sound like hip-hop to me. I would call it pseudo-industrial trip-hop, if I had to call it anything. Mostly what I would call it is dark and heavy. It’s the sort of music that makes me want to go to Ocean Beach on the grayest day of the year and stare out over the waves and contemplate my own insignificance.
What impresses me about this release is that he manages to keep up this consistency of tone while changing beats and tempos like mad. Beats include Industrial (2, 6, 7, 10), Trip-hop (4, 5), pseudo-Drum and Bass (3, 8, 12), Electronica/Glitch (9), and Mellow/Ambient (1, 11, 13).
Track 1 features eerie spoken vocals. Tracks 2, 7, and 13 feature deeply voiced rapping. Track 10 has vocals (the lyrics are in the book), but they are mixed so low as to be incomprehensible.
All tracks clean.
An extremely long (almost 80 minutes!) compilation from east-bay hip-hop crew/label Anticon. Even though this is a collection, the tracks blend together, so careful at the start and end of tracks. I’ll split the review into three parts:
Singing: Some of the artists on Anticon are singers rather than rappers. The effect is that of indie-pop with a more hip-hip beat. Artists in this vein include Why? (2, 12, 22, 29) who answers the question ‘what if the Residents played hip-hop?, Passage (6, 18), Restiform Bodies (28), and the Alias track that features Markus Acher of The Notwist (31).
Rapping: In the more traditional hip-hop vein, Alias (4, 14, 20, 25), Sole (5, 13, 21, 32), Themselves (3, 11, 15, 27), Deep Puddle Dynamics (5), and Pedestrian (7, 19) feature skillful and dexterous rapping over backgrounds that vary from melodic and catchy (Pedestrian) to dark and mellow (Alias, plus 5 and 13 by Sole ? produced by Alias), to dark and heavy (Themselves, Deep Puddle Dynamics).
Instrumentals: Odd Nosdam provides dark, heavy, electronic instrumentals (10, 23) and a bit of comic relief (17, which features the Muppet Show bari sax baseline and sampled spoken vocals from TV/film); he also produces Sole tracks 21 and 32. Alias (26), Dosh (30), and Jel (33) provide smoother, trip-hoppier sounds.
Language: 4, 5, 12, 14*, 22, 27
*Only in the spoken outro. ‘Shit? at 3:20 of 3:37.
What it is: Vocal (but-non-singing) works of American avant garde composers.
What it sounds like:
1. The words ‘Rainbow? ‘Chug?, ‘Bandit? and ‘Bomb? sampled and looped.
2. A somewhat cut up speech about modern music that references track 1.
3. A cut up speech that talks about John Cage.
4. Vocal screeches, hisses and groans. Somehow based on the name ‘Merce Cunningham?
5. A woman reading a recipe and a fantasy novel edited together with a warbley echo. FUCK.
6. The word ‘bang? over and over again. Originally a locked groove.
7 and 8. Originally a single track. A synthesized voice repeating the same words with pitch shifting.
9. Quickly spoken words that are hard to make out over a background of electronic noodling.
10. The composer makes vocal noises (‘eh eh eh ah ah ih?) in the background while her mother speaks about her in the foreground.
11. A poem being read one word at a time while being written on a chalkboard.
12. Several conversations with telephone operators that overlap.
13. The word ‘crickets? over and over. Originally a locked groove.
About the recording: Rerelease of 1975 LP on the Arch label. Biographies included in the liner notes are c. 1975.
What it is: Traditional Yemenite Music
What it sounds like: Hasan sings and accompanies himself on a Yemenite lute, known as a tarab (it has a similar sound to an Asian lute, but has a somewhat richer tone). He is accompanied by Muhammed al-Kham’s? on copper plate percussion, known as a shn nuh’s?. At various times, the music is arrhythmic, in 11, in 7, and in 2. Each track is a complete piece in several movements (see the liner notes for details). The first track features vocals throughout, while tracks 2 and 3 have 2-3 minute instrumental introductions.
About the recording: The composition and performance of music was banned in Yemen in the 1960’s. Hasan is a third generation musician who’s predecessors kept the traditions alive. According to the liner notes, he is the only Yemeni musician who still uses the traditional Yemeni tarab, others having switched to the more common Oriental ?’d.
What it is: Field recordings of indigenous Tahitian music.
What it sounds like: The most interesting tracks (to me) are some combination of chant, prayer and song (6, 8, 10, 17, 18, 22, 24). Most of them involve a kind of call and response with a ‘preacher? or storyteller and a chorus. It must be a similar experience to hearing a catholic mass in a language you can’t understand.
Some tracks are beautifully harmonized a cappella prayers and laments that can sound quite alien to western ears (2, 4, 11, 12, 13, 16, 21, 25).
Some tracks are ukulele/guitar accompanied by one voice (3, 15, 20, 23, 26), a chorus of voices (1, 14), or no voices at all (9). These sound like ‘traditional? Polynesian music (as opposed to the slicked up stuff presented to tourists, but you can hear the roots of that here).
Rounding out the collection are some tracks of drumming (5, 19) and a brief wind instrument (nose flute perhaps?) solo (7). I’ve indicated my favorites on the back, but everything is good and the recording quality is quite excellent.
About the recording: Originally released in 1968 as part of a series of South Pacific field recordings. All tracks recorded in Tahiti by Francis Mazi’re.
This is the first compilation of music of the Tsapiky (Tsa-peek) guitars from south west Madagascar. They are handmade box shaped lutes. The gentle rhythmic lute-like musical style is similar to many of its African neighbors but it’s distinct. The tsapiky is at the center of the group which includes vocals, bass, drums and dancers. The vocal styles vary and the lyrics tell stories about people, relationships and aspects of life. A beauty! AArbor
This music is ‘griot funk? from Sierra Leone. Originally released in the 1990’s this album apparently had little impact at that time. Yaba’s sound slowly grew in popularity by word of mouth. Yaba himself died of TB (in his early 30s) in April of 2001. For about 4 years from 1999 until 2003 the album was out of circulation. RetroAfric re-issued it re-packaged with added tracks from the original session. Funky African style beats underpin Yaba’s gentle 2-string gourd guitar (koliko) grooves, a muted trumpet & vocals. A beauty! AArbor
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