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‘This work has accompanied me like a secret, an almost silent meditation on what the viola means in my life. Through it I have experienced how much this instrument connects me to listening, to patience, to inwardness. Here Morton Feldman is not composing in order to shine, but so as to make us hear the infinitesimal, the unspeakable – that is what has touched me profoundly, and I want to share it with the listeners.’
Antoine Tamestit
This is terrific.
Brazilian post-punk, art rock and DIY from 1988, released here for the first time, by the duo Celso Alves and Kodiak Bachine (whose records with the band Agentss are desperately sought-after nowadays).
Dubwise and rhythmic, percussive and synthy, with tangy Brazilian roots, and a droll humour to its reflections on embalming, LSD and zombies, the music freewheels roughly and vividly from the truffling, chattering, tropical atmospherics of the opener, through to the machine-funk, Romeroesque terrors of the Greenhouse Massacres, to close.
Sung in Portuguese and English, studded with Spanish, French and German, the lyrics are reproduced on an insert. Pressed at Pallas.
Ace. Check it out.
The king of acid-fuzz guitar presents a barbed bouquet of classic psych covers — The Stooges, Hendrix, Pink Floyd, MC5, Jefferson Airplane and co — with killer, piercing fuzz-wah guitar and bizarre software-generated vocals. ‘One of the finest acid-punk shredders to ever walk the planet, Munehiro Narita gives these time-honored psych rock classics a serious kick in the ass, in the most bizarre and Japanese of musical settings’ (Steve Krakow, Galactic Zoo). ‘Munehiro Narita (High Rise et al) bleeds all over a series of massively re-wired cover versions of classic psych while computer generated little girl vocals relocate the whole damn thing in another future altogether’ (David Keenan).
Microtonal folk music mixed with electronics and noise.
The first record was rave-reviewed. ‘I was transported to secluded valleys where age old traditions are the passionate expressions of a community, here re-energized by the chillingly sensitive electronic wizardry of Anders Hana and Morten Joh’ (Songlines). At home in Norway even the tabloids picked it up: ‘Gorrlaus has the same intense and monotonously suggestive sound hunt as early Kraftwerk, at the time they played Ruckzuck’ (VG).
And now II is a next step further in the same direction, more deeply attuned to diverse materials derived from field recordings and other research, with finer nuance and detail… and more fiddle.
‘Ndegeocello’s second Blue Note pays homage to the great writer and activist James Baldwin. Her transformative music and collaborative spirit ignites this genre-bending work that is at once a musical experience, a church service, a celebration, a testimonial, and a call to action. Features frequent collaborators Justin Hicks, Kenita Miller, Abe Rounds, Jake Sherman, Jebin Bruni, and Julius Rodriguez, as well as powerful spoken word performances by Jamaican poet and activist Staceyann Chin.’
Warm, comfy and loose — unashamedly inchoate — for Capitol in 1967.
Nice Percy Mayfield version.
