I forget where I heard about this album from Swedish Saxophonist Anna Högberg’s Attack Sextet. I think, a couple years ago, a few jazz bloggers wrote about it.
In any case, I bought it, sort of forgot about it, and didn’t listen through it until this morning. As, unfortunately, happens all too frequently with digital assets.
A fun mix of free and composed music, harmony and noise. Listening, I think the artist she owes the most to in her compositions is probably Charles Mingus. His concepts of harmony and “folk jazz” seem to permeate a lot of the written parts on this album. Which isn’t a bad thing.
The “out” bits are pretty out. The most extreme probably “Regnet”, where one of the sax player limits themselves to spitty, slurpy, gurgling. Pretty “Punk Rock”, if you ask me, and I’m not easily shocked. And the nice bits of the playing are quite nice. There are some almost hymn like chordal harmonies on “Familjen”. Also, there is a song called, “Lisa med Kniven”, which, unless I’m mistaken, means, “Lisa with Knives”. I wish I’d listened sooner.
A collaboration between Camae Ayewa, aka Moor Mother, and Steven Montenegro, aka Mental Jewelry.
More than her other releases, the music on this release reflects trends in popular music, from both the US and the UK. I hear more influences of where the music formerly known as rap is today and/or grime/dubstep than on Ayewa’s other projects.
In some ways, I suppose it makes it a more accessible release. On the other hand, there is a lot of harsh language, not just in terms of subject matter. As regards the lyrical content, it is probably more repetitive and terse than on either her Moor Mother or Irreversible Entanglements projects. I suppose this reflects something more tangentially connected to popular music.
An interesting experiment, but I find it less compelling than either Fetish Bones or Irreversible Entanglements.
Keyboards and Percussion (mostly electronic). I wasn’t familiar with Talibam!, but they are on ESP-Disk’ and Saxophonist Matt Nelson sometimes plays with them (but not on this release). The titles are kind of awesome, like, “Antarctica shall be used for peaceful purposes only’ (Article 1)” and “Cost-Effective Drilling Enabled by Pioneering Technologies and Warmer Climates in the Southern Ocean”. Obviously, there is a theme here.
The music is instrumental, short attention span, ADHD, manic type stuff. Most themes last for a couple minutes only. They vary from Focus-esque anthem-rock to modern electronic dance and everything in between. On the plus side, if there’s something you don’t like, you just have to wait a couple minutes for something else to come along. On the minus side, it gets a little tiring to listen to. <-Old Guy Complaint!
#Talibam! #EndgameOfTheAnthropocene #TodaysCommuteSoundtrack
Dirty Songs is David Toop, Phil Minton, Evan Parker, Steve Beresford, and Mark Sanders. So, basically, there was no way I WASN’T getting this album, simply out of curiosity as to what it would sound like.
What exactly does it sound like?
Well, sort of like the shattered ethnic dub of P.I.L. meets Hawkwind on the cutting room floor of a horror movie.
It is the exactly appropriate soundtrack for your Halloween soirée.
Mr Goldberg spent the summer of 2017 on an artistic retreat in an Italian castle. These are songs and sketches, mostly solo clarinet, he recorded while staying there.
If you know me, you know I like environmental sounds, so my favorite track is Part One of, “THE VISIT TO SAN SEPOLCRO for Dana Prescott”, with its bird sounds intersecting with Mr Goldberg’s playing. “Low Key for Ilaria Locchi”, with it’s use of split tones is also quite nice.
Bandcamp Link: Reaching for Indigo
Chicago vocalist Haley Fohr seems to wear many different personas as a performer.
Her last, “Jackie Lynn”, was a sort of, I dunno, a cyber country star? Burning Man Burnout?
In any case, some critics are calling this her most “personal” album to date.
While the vocals are perhaps less abstract than some of her albums, I dunno, front persons and vocalists are always first and foremost story tellers, so I hesitate to use words like “personal” for these stories.
On this album, the group deploys a larger, and in some ways more conventional, sound palette than some of her releases, including a string section.
Pretty cool, and allows her contralto vocals to take front and center stage, though she does not hesitate to deploy her voice as an instrument along with the others in the group. There are some particularly nice interactions between her vocals and the synth player, for example.
I would say this is probably her most moving and emotional album, at least, for me, as a listener. Does that make it “personal”?
As someone once remarked, “…for someone who doesn’t smoke, you sure listen to a lot of Reggae…” And it’s true, I do enjoy Reggae, especially its more abstract relative, Dub Reggae.
I wan’t familiar with Alpha & Omega until a streaming service suggested them. So I was pleased to discover I do like them.
Apparently, they are a still-active English duo who traffic in fairly traditional Dub Reggae. Well, with some modern digital touches. On this 2014 release they do remind me a lot of some of Adrian Sherwood’s projects. Singers and Players seems to come to mind most frequently.
Two horns, two basses, and Hamid Drake. This album is the twin to the Anderson, Drake, Jordan, Parker, Silva album “Two Days in April”. Both are exercises in energy playing and both are great examples of Modern Titans playing at the peak of their powers.
I would say the funny, or interesting, part about contrasting the two releases is that on “Two Days in April”, I got the feeling it was Jordan who was keeping Anderson on his toes and not letting him lapse into easy choices. On “The All Star Game”, it is Allen, most well known for his work in Sun Ra’s Arkestra, who is goosing Jordan with some altissimo figure or screech every time he attempts to lapse into an easy groove. As a horn player, it makes it fun to listen to the interplay between the two men’s ideas.
Given the large Brotzmann-esque expressions of Rempis’ Ballister, it is interesting to listen to this album of quiet, small gestures. Or, well, quieter, smaller gestures.
Even percussion dervish Corsano keeps it on the restrained side of free.
Quite pleasant and enjoyable. The most interesting part is probably trying to identify which instrument is making which squeal, thump, or whirr. Plus, good song titles like, “Stand Up for Bastard” (Woo! Bonus points for King Lear Allusion!) and “Swinging’ Apoplexy”.