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Every single song on Whispermoonis moody, dark, soulful, and reminds me of an old, sparsely populatedbar in the middle of a desert somewhere around dusk. Live drums,upright bass, bluesy vocal samples, and a smattering of scratching andcoarse atmospheres bounce about the entire album weaving catchymelodies and smooth grooves. "Train Song" features a ringing acousticguitar, a beautiful female vocal part that summons the blues, and anirresistible beat fed by both live drums and thick digital bass drops."Decadence," on the other hand, is a beat-heavy and more vocallydexterous track, fed by the energy of a bass guitar and Manchild'sraps. Thematically, the topics of many of the songs are a bit grandioseand this is where Listener's weakness is exposed. "You're SoUnderground" attempts to critique the I'm-a-player attitude so popularin rap but ends up falling short in the rhyme-department. Listener'swriting isn't entirely bad, but it's certainly not as strong as itcould be. I find myself agreeing with a lot of what the guy has to say,but I often feel as if it could be said with more command. That's notto say that every rap Listener makes is dull. The aforementioned "TrainSong" is a gorgeous narrative the likes of which I've never heard inhip-hop. It's just that some of themes (such as drug use, love, media,and religion) are laid so bare as to be a bit cheesey; many of thelyrics simply come off as too calculated and his vocal style begins tosound repetitive as the album moves along. Musically this album iscolorful, inescapably catchy, and varied; there's not a dull moment tobe found. Perhaps with some reflection and a bit more disciplineListener will become a lyrical force to be reckoned with, as well.samples:
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Best known for his work as bandleader and drummer for Norwegiancollective Jaga Jazzist, Martin Horntveth sets aside the sticks toconcentrate more on the role of sound manipulator, mixer and produceron his second solo release. While the prevalent, fast-paced industrialsounds on the six-track SkullEP have very little in common with the style of music that Jaga Jazzistperform, certain elements of rhythms and low end sounds may seemfamiliar. Grinding gears at the top of the disc, "100%" fuses distortedup-tempo beats and demolished keyboard bass sounds with high-pitcheddental drill chirps and whistling, detuned keyboard lines for a trackthat teeters on the edge of cacophony. The warm, floating tremolokeyboard and heavy, precise drum machine propelled "Comic" is litteredwith clipped spoken word samples and sound snippets, which can befollowed along with on the handy, phonetically sounded "lyric" sheetinside the disc's front cover. Horntveth adds his frenetic sampling ofbeats and synth squelches to fellow Norwegian metal outfitNOPLACETOHIDE's tight, chugging guitars for a sixty second rendition ofa track of theirs on "Sole (Remix)." The distorted shuffle of "SzakalIs Home For X-Mas" rounds out Skull's twenty minutes with anarrangement of squelches and bass end that bring in a pretty keyboardmelody which, by the tune's end, glimmers through to slightly conveythe festive mood indicated in the title. The farthest thing from a"drummer" record, Horntveth's electronic-based compositions andarrangements are solid enough to provide a viable outlet aside fromJaga Jazzist and make a name known by those that don't necessarily readliner notes.samples:
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- Dmitry Elentuck
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Vastness of an ocean or shallowness of a bathtub? The Islewas quietly put on a musical map by Japanese cartographers P-Vine backin April, joining the ranks of sea-themed concept albums such as PianoMagic's A Trick of the Sea and Rachel's The Sea and the Bells(diaries of aquatic adventures, scrupulous accounts of seasickness,logbooks of navel/naval gazing). Unlike its conceptual predecessors,the creators of The Isle do not go after the epic and theexpansive but aim for the childish and the minimal: a fairy tale. It'sa split album cleverly disguised as a collaboration. Tokyo's SohichiroSuzuki (World Standard) and Cologne's Jörg Follert (Wechsel Garland,Wunder, 1/3 of Visor) each contributed seven compositions and'co-wrote' only the title track, swapping ideas via mail. On firstencounter, Suzuki's and Follert's previous efforts seem more satisfyingthan this. Through their infantile melodies and simplisticarrangements, the musicians channel not the vastness and deepness ofthe sea but the rather comfortable confines of a washbasin. A faintasthmatic wheeze of a rubber ducky at the end of the first trackreinforces this impression. Subsequent listens, however, reveal a muchricher palette of mood, harmony and texture, full of subtleties thatwere not apparent initially. Acoustic guitars, xylophones, toy pianos,melodicas and violins (most of the string parts masterfully played byan uncredited Susanna Welsch) are weaving a patchwork of pointillistwaltzes, plinky bossa-novas, mournful ambient vignettes, and even oneharpsichord-driven ballad beautifully sung (in German) by Follert, "TheHarbour," which, incidentally, is the only vocal piece on the album.The result is not a heavy-lidded Odyssey but rather a Treasure Islandas enacted by talented carefree kids, wearing oversized Hessian bootsand paper cocked hats, with prop parrots perched on their narrowshoulders and plastic spyglasses pressed firmly to their wide-openeyes. This is Visine-washed music, clear and bright. The latitude andlongitude of The Isle may be different from the ambientbanjoisms of World Standard's Country Gazette or cinematic dubisms ofWechsel Garland's Liberation von History but it confidently stands onits own in the murky sea of this year's music. The last harbor for theLost Children.samples:
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Originally released in September 2002, Magic Radios is the documented collaboration between experimental jazz musician Morgan Caney and electronic-based composer Kamal Joory, showcasing an interesting blend of both their backgrounds for nine compositions and a remix.
The squeaks and subtle pops implying the rhythm on the opener "Blanket" become slightly more musical in context with the addition of distant keyboard drones and a repeating warm, cheerful bass line that doesn't grow tiresome. The layering of reverbed machine samba rhythms and sounds on "3,000 Miles" are the anchor for a smokey horn section motif to cycle through while lower register flute melodies pop in and out. The processed, Brazilian-flavored guitar, bass end and soaring violin on "Crispy Leaves Underfoot" moves into a very full composition with the layering of keyboards paired with long-lined melodies, all held together with a steady, hiphop-tinged beat. The surprise track for me towards the end of the disc is "Darling." As close to traditional as anything else on the disc gets, the track's sunny acoustic guitar and vibes progressions and upright-sounding bass are topped by very distant, reverbed and harmonized vocals that convey a very 1950's style of country singing on the radio waves of the day. I can't help but visualize some sort of scene from a David Lynch flick upon hearing it in this context. The presence of weaving violin (or perhaps fiddle in this case) add to the track's somewhat authentic sound. Caney and Joory have put together an interesting and creative writing style throughout Magic Radios, based on somewhat diverse influences and backgrounds. From what I'm hearing, my only complaint is that there are times when it sounds as though their compositions and outputs are playing it too safe where some areas could be stretched further. I'm sure that restraint, at times, is part and parcel of working in the collaborative environment as not to tread on each others toes.
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- Taylor McLaren
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Just after Saul Williams' Amethyst Rock Starwas released, I got into some great arguments with longtime hip-hopfans who found his high-minded, pandering-be-damned (literally)approach to hip-hop a tad bit pretentious. Similar complaints can't bemade about Akrobatik, who comes across instead like the cool-but-savvyuncle that every kid should be able to turn to for advice. Ak is allfor doling out the science, but like he says on the title track, "Youcan study for years and be the world's top scholar, but trying to makethe fans feel dumb won't make 'em holler." Most of the album is aboutkeeping it together in one way or another, finding common groundbetween the nerds and the thugs, building communities that sustainthemselves, and generally being excellent to one another: Keanu Reeveswould be proud, and the front-porch family feel of most of the albummakes for friendly, comfortable listening. The inclusion of "Woman, Pt.II" (an honest take on the conflicting impulses behind dating) justlends, well, balance to the proceedings. As you might expect by now, Balancefeels more like the effort of an accomplished craftsman than theproduct of some firebrand artist: the bombast and atmosphere of, say, aDef Jux or Hieroglyphics record is nowhere in sight, and I'm not alwaysin the mood for the Sunday-afternoon coziness of some of this stuff.(Think Blackalicious without the craziest of the verbal gymnastics andyou've just about got it.) Oh, and it does feature one bog-standardObnoxious DJ Intro (courtesy of Evil Dee, on the album-low track"Always Bet On Ak")... I guess that's a negative point, too. Asantidotes to hip-pop go, though, this one is well worth hearing. Thatmight not be the strongest recommendation possible, but maybeunassuming support is what's called for with an album and an artistlike this.samples:
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Last year around this time, I reviewed Saloon's debut album, This Is What We Call Progress.In it, I expressed the hope that with time, the Reading, UK quintetwould more fully develop and enrich their fledgling sound. If We Meet In the Future,their new album, unfortunately does not show evidence of the outcomefor which I'd hoped. Still taking strong cues from Stereolab andBroadcast, Saloon sadly never seems to quite live up to their fullpotential. This is not to say that any of their songs are unlistenable,but simply that their humble approach to recording is just *too*humble. If We Meet In the Future has a few lovely tracks: "QueQuieres?" is soothingly melancholic and "Dreams Mean Nothing" featuresa hypnotic film-noir croon. The originality of these two tracks standin marked contrast to more meandering, uninteresting songs like"Absence" and "The Good Life." Lead singer Amanda Gomez' voice is sweetand easy on the ears, but often lacks backbone. That said, and despitemy complaints with this album, I still feel that Saloon has the talentto come into their own and mature into something more substantial, butthe question remains whether or not they can actually pull it off.samples:
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Stefan Schneider's latest release as Mapstation features reworkings andversions of tracks from his full-length, as well as some new tracks.The focus is on Schneider's work with reggae singer Ras Donovan on"Gravity" and "Wake Up," which appeared on A Way to Find the Dayand gets two versions here. While the pairing is an interesting onethat is sure to spark more interest and conversation, it is still anawkward one as this release shows. The two men have certainly grownmore comfortable working together, and their music is full of melodywith a lazy shifting style. Relaxation is a given, with a gentle bounceand sway that begs the body to rise and fall with the proceedings.Unfortunately, the collaboration still doesn't connect fully, withSchneider's music providing a backdrop that is often, though notalways, jarred by the voice and inflections of Donovan. "Gravity" isfull of lyrics of polarity, opposites, and the expected call-outs ofreggae and dub, but Donovan's staccato is still too harsh for itssurroundings. "Wake Up" gets reinterpreted with Scallo, a DJ-vocalistwith ties to Donovan, but Scallo's jarring delivery creates cracks inan otherwise smooth exterior. "Wake Up version," in fact, is arevelation just because it features no vocals, and the true essence ofthe track is allowed to be on display. Not to be too cutting, though,on "Be True" the pair get it just right: Donovan wails and professes,with as little rapping or chatting as possible. Suddenly atransformation occurs, and even though the lyrics are a bit simplistic,juvenile, even, the rhythm and vocals are sexy enough to make you losecontrol, and forget whatever you were just thinking about. Schneider'sother work, including Radian's Martin Brandlmayr this time, is asconcise and yet full of life as always, particularly "Effects of MyHaste." For once, I felt the true meaning of the Donovan connection,though, and based on the promise of "Be True," there's greatness on thehorizon from these two.samples:
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There's a chilled-out and generally cool feeling to every song on this disc. Every song is a pure, vibrating, and relaxing mix of dub beats and hypnotic melodies culled from a myriad of cultural influences.On-U Sound
Adrian Sherwood blends everything together with elegant production techniques; consuming bass melodies and driving rhythms ride into and run with floating guitar melodies, blaring saxophones, and dabs of sitar and tablas. The album kicks off with a killer mix of Prince Far I's "African Landing" and never comes down from that point: it's a swirling mesh of heavy bass, uplifting guitars, and a plethora of studio tricks. Sherwood has a knack for making the smallest adjustments to certain sounds so that, despite their sometimes repetitive nature, they sound fresh throughout. "Let the Spirit Rise" makes excellent use of this technique. A rabid and hyper bass melody parades throughout the entire song while James Bond-esque strings and smoothness wonder about over the top. Multiple times throughout the song Sherwood swtiches up the color of that melody and pans it all over the stereo spectrum keeping the same tune moving throughout the whole song in various forms. There's a special sort of attitude suffused throughout every song. My shoulders always loose their tension, my head always starts nodding, and my breathing always slows and deepens when listening. I'm not sure how, but Dub Syndicate manages to keep every song laid back while still applying gracious amounts of funk and groove.
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- Michael Patrick Brady
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Collaboration between jazz and hip-hop seems very natural, and one would expect the meeting of these two creative, improvisational, dynamic styles would result in a compelling piece of music. Still, the individual components of such a meeting would have to be up to the task, and on this release one side is, and the other is clearly not. Things start out well enough with "Places I've Never Been."Thirsty Ear
Shipp takes advantage of the piano's percussive side and pounds out chord beats that bounce and put the programmed beats that lay over them to shame. Synth and bass sidle alongside Shipp for texture, but his piano is the centerpiece, and the synthesis of these elements amps up expectations for what is to follow. Unfortunately, the very next track lets all the air out of the tires. "Staph" is where Antipop comes in, and after a tuneful intro by Shipp's band, Antipop's Beans and Priest follow along like an anchor. Their flow, if you can call it that, is akin to the clipped, speedy delivery of an auctioneer and seems to move along the tune as if they recorded it irrespective of the beats programmed. Their verses sit awkwardly in open spaces in the middle of the body of the jazz tune, which eventually fades out unceremoniously. "I think there'd be some very angry listeners," recites Antipop on "Short Horn," "if there wasn't vocals over this." Much of the lyrics on this track are about how what we are listening to is "powerful music," however I can't help but feel that Antipop's lethargic, mediocre presence is robbing Shipp, Parker, Brown, Jamal, and Carter of their strength. The music that comprises "Short Horn" would have been excellent on it's own, and in the hands of a more capable and competent rapper, quite possibly amazing. "A Knot In Your Bop" marks a strange misstep for both sides of this project, however. Shipp and his band trot out a rather bland version of Miles Davis' "All Blues," letting Antipop program tinny beats and talk all over it. It's a strange blip, bringing out a very recognizable tune (and not acknowledging it in any way) and mostly results in confusion and annoyance. "SVP" is equally perplexing, a simple instrumental that repeats a short series of notes accented with the occasional click or blip beat. It never goes anywhere. Only "Monstro City" makes any kind of positive impression, with Antipop doing a (intentional this time) spoken word over a dark, noir bass heavy piece. They finally allow themselves to take a breath between their words, utilizing pauses and silence to create tension and paint a vivid picture of a couple parting. There is no conflict or story, just the image of them walking from one another and the feelings that evokes. It marks a distinct and welcome change from much of their other output. The album closes with "Free Hop," and finally allows Shipp and co. to cut loose. They absolutely tear through the piece, notes fall like anvils, each one crashing amidst a rain of others. It is a true show of force that flaunts the brilliance of these musicians. While this final track is invigorating, it's also disappointing in that this level of musicianship and energy could not be captured throughout the rest of the disc. Antipop Consortium vs. Matthew Shipp is well-intentioned, occasionally interesting, though ultimately frustrating.
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- Steve Smith
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The casino reveals itself to be a source of much more than free buffetsand cheap thrills on this unprocessed field recording that combinesVegas with Antiguan tree frogs, but the uncompromisingly raw format andlack of manipulation hold back my interest. Coleclough's recordingshave consistently amazed me with their exquisite processing andarrangement of sonic minutiae, drawing out the tonalities of metal,acoustic instruments, and nature sounds into epic, drone-based pieces.But that discography makes this record's simplicity even moredisappointing. Though it's well arranged—for a straight fieldrecording—I can't help but imagine what this could've been with alittle work. Coleclough has generally succeeded in exploiting thesimilarities and differences of natural and artificial sounds, and thatis the highlight of this recording. The first side of the LP, or tenminutes of the accompanying CD which extends and gradually mixes thetwo sides, is the pinnacle of casino gaudiness, with tinny slot machinejingles, ringing coins, and distant country music riffs. The slots growgrating before long, but luckily Coleclough knows when to move on. Therecording improves from there, especially on the CD version, as themusic gently transitions into the second part's ocean waves and frogs,whose chirping bears subtle similarities to the previous digitalcacophony. The frog sounds are nothing special and don't exhibit muchdevelopment. It's evidence that, given enough patience, listeningclosely to almost anything will reveal detail previously overlooked. Sowhile I like this record, it's not something I'll listen to very often,and the sparse, soothing sounds of ocean waves at the conclusion remindme of some bad "relaxation" tape. Casinois rather collector-oriented, released on a massive piece of vinyl inan edition of 400. I'd definitely advise anyone interested in doingsome serious listening to check out Coleclough, but start with one ofhis composed works, such as the excellent, and readily available, Period.samples:
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Nick Forte is half of a duo called Christmas Decorations that releaseda pretty decent album on Kranky last year. For his first soloexcursion, he's come up with a mini-album that crams 15 tracks intojust over half and hour. The record has an excellent starting point in"Green Language," where Forte expertly weaves together a dubbed-outbackdrop, broken-down machine beats and swirling layers of sound andnoise into a really satisfying work that always seems to be on theverge of falling apart. But the good feeling brought on by of thosefirst few moments is quickly deflated, as the one- to two-minute tracksthat make up most of the disc are unexciting little bursts of abstractsound that go nowhere fast. Some promising flashes of structure appearin a couple of places, most notably on "Thistle Rue" and "ForgottenMusic", but generally Pasted Lakes sounds like a collection of unfinished ideas and unfocused sound farts, few of which I find especially appealing.samples:
I did, however, find a lot to enjoy on Chaotech Odd Echo,the first full-length album from Japan's Kiyoshi Ono a.k.a. Kiyo.Reportedly, this disc arrived at the Schematic offices with a note thatread "Enjoy warm noise from Japan," and that phrase that fits the albumquite nicely. The artist's website bio reveals him to be a fan of DavidLynch and Stanley Kubrick, and through his juxtaposition of melodicsketches and fractured beats with layers of subtle rumbles andin-and-out waves of crackling static, he manages to evoke a sense ofunease and edginess in his music that is similar to that found in thosedirector's films. There are a couple moments where things threaten toget a little too flighty and abstract, but Kiyo has a good handle onhow to keep the listener's attention by balancing those non-linearimpulses with warm harmonics and clank-and-crunch rhythms. Read More
