Tuesday, July 26, 2016
Todd does the vocals and they are spoken, poetic, sort of abstract for what you'd expect in lyrics with this kind of music, but not the less interesting for it.
The guitars do all kinds of wonderful things, from neo-surf to space-out kinetics. They are why this album appears on this blog. It's contemporary-retro psychedelic-revisionist musical slabs of being elsewhere while you are here.
It's first tier and unexpected. There is nothing quite like it out there. Four musical planets in orbit around a cool place! Get it.
Thursday, July 21, 2016
All this on the album Background Information. Sandy Ewen comes through with all manner of prepared and extended sound worlds on her guitar, as we (or I anyway) have come to know via other recordings. She and Damon rethink their instruments to allow them to sing out in unorthodox ways throughout. The result is a pull-out-the-stops series of four improvisational segments that explore with care an evocative noise-timbre-color world of extra-musical sound.
It works! And it works mightily. Fascinatingly. Meditatively. Is it their best album(s)? Probably not precisely. But it does occupy convincingly interesting musical terrain and consistently so. It in its own way is a kind of primer for ways to get away from typical sounds on guitar and bass. Both are indefatigably original for this, so do not hesitate--order a copy.
Wednesday, July 20, 2016
Brian Cummins does the lead vocals and somehow manages to sound like Peter without not sounding like himself, if you can grab onto that. His is a voice of distinction and power. Drum ace Jerry Marotta kicks up some heat and does backing vocals. David Jameson is on keyboards and eigenharp. Then there is the formidable string section of Trey Gunn on touch guitar and Michael Cozzi on electric six-string guitar. They do much to make this live remaking special, as does David on his synth parts.
If you dig Peter Gabriel the music will cover all the reasons you do, with very familiar and excellent songs redone with some hard-hitting bite.
I found myself responding to this one and as I listen again while typing up my short blurb I feel that way once more. He was one of the brightest lights of '80s-'90s prog after all. And this refashioning keeps the magic alive. Recommended.
Friday, July 15, 2016
Merzbow's noisy electronics, Haino's very electric outside guitar and Pandi's turbulent mass drumming give us truly avant noise-metal music as in-your-face as it is deep in space.
This is marvelously alive, extreme hard-core stuff that is neither polite nor in any way relenting. All three musical personalities remain distinct and brilliantly brash. Japan avant in all its boldness is yours to appreciate, cut-by-cut. One can just get mesmerized by it all, or one can very profitably and enlighteningly follow the three discrete voices and the way they interact in contrasting, intersecting sound-block masses throughout.
Guitarists will--if they are open to this kind of thing--gain a real appreciation of what Haino is doing. But then of course Merzbow and Pandi co-partner with Haino so that the insistent blend elevates the music onto an astral plane.
Some may be shocked by this--or annoyed. That is their business. The rest of us can entrench ourselves in the wildly stratospheric walls of sound. This is cosmic noise rock at its best! Latch on.
Thursday, July 14, 2016
"30 Hz Dub Prelude" and "Electronic Impromptu in E-flat minor" are each filled with a big sound and nicely realized musical content. Together they fill out the 15 minutes or so of the EP. The ensembles include also Ted Parsons or Steve Jansen on drums, Brian Allen on trombone (for the first piece), Coppè providing voice (for the first piece), Alessandro Gwis on piano (for the second) and the inimitable Merzbow on noise and power electronics.
The immanence (or "everywhereness") of the music is out front and stunning. Each work creates a cosmic universe that will boost your mood and put you in a very nice zone. Music like this must be done well to avoid the merely pleasant or new age, and Gaudi puts much care and heftiness into the mix to give us something far from banal.
I am very much into this slab of sound. I recommend it to you heartily.
Wednesday, July 13, 2016
If you seek some nicely conceived electric guitar in a program of advanced rock-funk instrumentals, you can confidently turn to Justin Piper and his DIY album Avant Funk (Just One Music).
The idea was for Justin to map out arrangements of 12 pieces and then realize them well with Tom Garrington on drums and Justin multiple tracking on guitars, bass, electric piano and programming.
The compositional ideas, riffs, melodic figures, power-chord changes and such serve to set off Justin's very fertile guitar rocking and at the same time give you a set of originals that stand on their two feet in their own right.
It's subtle and worthy artistry that won't leave you incredulous, gasping for breath at the superhuman chops on display. Because it is about musicality more than technical prowess, though Justin can certainly play some fine rock guitar.
It's an album that when I put it on--say from the second time forward, it reminds me of itself rewardingly and subtly-straightforwardly. It's music without cliché, yet it is very contemporarily rock saturated.
Do you get me? A very worthwhile spin this one most definitely is. Justin has talent and his refusal to wear it on his sleeve is refreshing and all the more likeable. Listen!
From Peru we have a new album by guitarist Ciro Hurtado and his ensemble, simply entitled Selva (self released). It is a series of very attractive Hurtado originals based on Latin American folk traditions and world influences.
The ensemble has strong traditional roots in its deft combinations of Spanish guitars, accordion, cajon, violin, bass, flute and Peruvian flute, and etc.
There are some beautiful vocals by Nelly Cortez, Suemy Gonzalez, Stephanie Amaro (Trio Ellas), Cindy Harding, and others. There is some interactions with Indian music, notably the Indian Classical vocals of Charanraj MR on one song, and that is remarkable as well.
What stands out is understandably the considerable artistry of Hurtado, but also the beautiful memorability of the songs, especially the ones with vocals/lyrics, and the eclectically authentic yet contemporary ring of the arrangements.
This is music that will perhaps haunt you. The few people who have heard this album as I was listening, non-specialists whatever that means, have invariably praised it. And that's because its lyric beauty crosses borders and speaks directly to the inner musical self.
Truly fine is this. Some songs will stay with you; all of it will appeal to those who respond to very fine guitar artistry, ensemble singularity, beautiful melodies and strong vocals.