Karl Willebrant released an EP’s worth of meditative music that would be appealing to fans of groups like Embryo and Popol Vuh. The tunes are gentle, a bit on the kosmische side, and well-balanced in terms of its sonic character. This is a rather fine little release.
A quick warning ahead of time – do NOT put this in your hi-fi stereo system. Love 666’s latest album is about as lo-fi as it gets, and considering the audience chatter, this has to be a live recording. The music is harsh, brutally in-your-face noise-rock that bands like Les Rallizes Desnudes or some of Keiji Haino’s side project fans are going to be very much into.
After a long, rather painful, but necessary break, we are back! Thank you kindly for your patience.
We start off with an album I’ve anticipated for awhile now, as I have been immersing myself in the works of Dirty Three’s leader Warren Ellis and his collaborations with Nick Cave as well as Warren’s own solo soundtrack albums. From the release’s Bandcamp site:
“Dirty Three Ahoy! Appropriately disheveled, the Three emerge from the unending waves of time to pick up their guitar drum and viola/violin/piano/synthesizer/loops/percussion for their first album in a decade. Their playing encompasses ALL – from the original fury of their unlikely power trio to an impressionist cinema later on; mercurial, tumultuous to ambient to adagio, mood and emotion drawn up to dazzling heights from the humble human scale.”
Bleak and morose, this is the debut recording (as far as I know) of Alexander Chapovski, related to the Čapovski clan of musicians from North Macedonia. There’s a thread of Tindersticks, Leonard Cohen and Swans in this piece, perhaps a neofolk influence as well. I look forward to hear his style develop.
I was introduced to a project new to me coming from Australia. From Karl Willebrant’s Bandcamp site:
“Night Daze blends immersive textures and emotive expanses that invites the listener to conceive a visual experience through soundscapes and drones utilizing bass, trumpet, field recordings, and improvised performance. The album evokes themes of time and place moving in congruent motion.
‘Night Daze’ Full performance interpretation with special guests Peggy Lee (cello) and Dylan van der Schyff (drums) viewable here – www.youtube.com/watch?v=oQgYvLem3lY
“Each track feels like a seemingly large area in which the sounds of the bass and trumpet echo around luxuriously. I have to say it gives me a vibe of some kind of extra-dimensional jazz club with the sultry trumpet licks ringing through a space that defies common physics.” – On the Fringes of Sound www.onthefringesofsound.com/2024/02/willebrant-williamson-night-daze.html“
Helen Svoboda is a Finnish-Australian composer, double bassist and singer whose work reminds me in some way of Laurie Anderson’s work, but perhaps denser and more lush. This makes for a pretty phenomenal listen.
Ramble Records out of Australia have published a unique album here – one that should be seen as a modern psychedelic rock masterpiece. From their Bandcamp site:
“Shūko No Omit, the name of the band, featuring Yonju Miyaoka on guitar and Vocals, his older brother Taiju Sugimori on bass and chorus,and his cousin Yuya Yamazaki on drums and chorus, is a mix of Japanese and english. Yonju told me he came across the word omit while reading an old English dictionary. Shuko (終古) is old Japanese. A word no longer used. One lost to time.
The characters 終 + 古mean end and old, but, he says, when put together, they mean something like “eternity, timelessness, from ancient to forever”; The の “No” character in the middle means of. Like omit of Forever.
…
As far as names as descriptors go, Shuko No Omit is pretty good. There is decay and damage in this music. And pain and sadness and the dangerous but essential fascination required as you stumble through that damage to the unknown whatever that lies ahead.
The music feels like it is on the edge. There is desperation that you hear from the opening moments. Most of the looseness comes from Yonju. The Rhythm is slow and steady. Yonju says there are many mistakes. The parts of it that people generally want to omit. It sounds to me like a raging fire. Blazing up one minute and smoldering the next. “
Heavy listening.
Had I not known the previous (impressive) works of both Jeff Gburek and A.J. Kaufmann, I would have happily believed that this was a lost psychedelic music gem long forgotten about in a basement studio recorded during Soviet times. While the tones are dulcet, you never really get a chance to get into a groove. The music shapes and shifts, making you ever aware of its presence and demanding that you pay attention (particularly hard to do as I’m grading papers at the moment). The introduction to the album at Ramble Records’ Bandcamp site is one of the most elegant I’ve read in a while:
“JazzIsthmus is the spontaneous nomination of a surreal podcast from two dolphins once swimming the lochs of Berlin un-bump-into-able until another quasi-human life incarnation, in nearby Poznan, where they skimmed palms at some music event in 2016, realized they bore the stigmata of guitarism and poetry. Their various hermetic preoccupations kept them adrift until the Man from Atlantis & his Ramble Records began to publish their solo projects independently. Sharing a label caused Jeff Gburek and A.J. Kaufmann to push their tables together, jam a bit, swap sounds and begin the collaboration that you can witness with a few clicks.
There’s more than guitar going into this mistura. First track bears psychedelic jazz ceremonial organ, careening space-cadet theremin glissandi, spiced guitar shards. Track two features Jeff’s soundscaping hydrophone recordings, VLF receiver, radios & Adam’s minimal ghostly tricky synth-like guitars. Thirdly comes Doof Tram, the very first live meeting, which remains exactly as it was recorded (except for the parts we changed, of course). Like Jerry Garcia meets Bern Nix. Gratefully Undead for this Halloween 2023. Further on down the road there’s some real synth and, you guessed it, more guitars. Meandering, nimble, somewhat melancholy at times. This is just a description, not a review.”
Cellist Emma Caterinicchio collaborates with Indonesia-based composer and sound designer Pete Swinton for a rather blissful and drone-laden album perfect for relaxing your mind for a spell.
One of Australia’s most important, if overlooked, musicians, Louis Tillett, passed away on August 6. He started off as a musician who experimented with Industrial music in his first band, Wet Taxis, but ended up developing a rough, bluesy style that could really only be compared, vocally, to fellow Australian Nick Cave. When I was 23, I had started working at a local record shop after traveling a bit called Aron’s Records, and this album, already 6 years old at the time, came onto my desk, as we had first dibs on used albums and CDs. It blew my mind, and I sought out more, not knowing that eventually, I’d end up striking a conversation with the man himself online. It’s a tremendous regret that, although I was living in Skopje at the time, I never had the opportunity to cross over to Greece to meet Louis. May he rest in peace.