similarly introverted/greasy feathers: joe murray on final seed, troy schafer, termite acropolis, michael barthel, kent tankred, body morph, matt krefting, jon collin, f ampism and final seed again!

March 14, 2017 at 2:04 pm | Posted in new music, no audience underground | Leave a comment
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Final Seed – S/T (Round Bale Recordings)

Troy Schafer – Untitled No4 (Round Bale Recordings)

Termite Acropolis – Dedication in Vinegar (Round Bale Recordings)

Michael Barthel – Randradau (Chocolate Monk)

Kent Tankred – Organ 1 (Chocolate Monk)

Body Morph – Keep Still and be Devoured (Soundholes)

Matt Krefting – Danger (Chocolate Monk)

Jon Collin – Sky Writings (Early Music)

F Ampism – The Resolution Phase (Beartown Records)

Final Seed – Untitled (Chocolate Monk)

 final seed round bale

Final Seed – S/T (Round Bale Recordings) Very rare tape or download

Rejoice in this super-subtle tape nothingness.

Side A is a perfectly timed 10 minutes that weaves the sound of background hiss-radiation with brief leather-necked gulpings and pre-language garrotte.  The sound of the sound of the recorder whirring dumbly is captured in startling clarity.  A round off in the cavern of the delay bounces a single blank tone off the squash court wall.

Side B is similarly introverted.  What was once a throaty wolf-man roar is pitched right down and super low into a substratum of broken sea-foam.  It warbles quietly, paying no mind and, like pouring thick glue over an uneven floor, the sound pools in places making deep ripples, skims the surface in others as light as a pond skipper.

The sense of purpose and dedication to a dream makes this a supremely confident release and an important exercise in listening to the sort of chuff we often ignore, gloss over and palm off.

Read no further and click here for evidence.

troy schafer round bale

Troy Schafer – Untitled No4 (Round Bale Recordings) Ultra rare lathe cut 7inch or download

Round Bale describe this as a ‘brain-scrambler’. After listening I’m feeling poached and fried to boot!

Side A. Sepia piano recordings run through a wood-chipper.

Troy’s fingers may nudge the occasional keys gently but his feet hit the pedals with force sending those white and black notes ricocheting through tin and bronze filters that wreak the pretty and gasp with giant violence.  What else am I getting (like a wine taster – that’s me!) a lung-rattling wheeze, half-song and memory.  You know what? I’m just a sucker for a solo piano.  The final 11 seconds promise a new beginning with that build up of blocked, harried notes that rudely snip off.  Oh yeah…distinctly classy.

Side B starts with a grunt and then something orchestral is wrenched back and forth through a pinhole.  The dry wooden click of a cello (perhaps) mimics a poultry convention; angry clucks and gobbles, that red wattle vibrating with the rough string attack.  I hear a woman’s laughter and then Troy launches into more grappling with the horsehair.  A dramatic friction.  Like looking down a sound-microscope that magnifies each textured sound-bundle a thousand times until it bursts like a turgid cell – spouting information into your lucky earhole.

Crikey Troy!

termite acropolis round bale

Termite Acropolis – Dedication in Vinegar (Round Bale Recordings) sold out tape and download

What an apt name for this ant-city investigation. Miniature tunnels are bored through the hard red earth and filled with dark cardboard clunks and billiard hall knockings.

Powerfully restrained recordings of process with little ornamentation. This is: a bell, a dropped coin, a handful of pocket fluff.

But that’s not to say these are overly simple.  Sounds are doused with a gentle condiment (or indeed pickled) until they slush about like a rotting medical exhibit (see: Caricature of the garden) in the bottom of a demijohn.

While massive machines are imagined in ‘Lardworks’, brass pistons pumping and levers floundering in a polished wooden way, it is left to ‘Extinguish the light’ to hurl us into the modern age; a symphony of gates opening and shutting to the beat of the Bontempi.

Title tracks often tell us a little about the intention and drive behind a record or artist.  In this case I’m guessing the closer, a nine-minute brining, is a powerful psychic calling card. It’s subtle and refined, relaxed but with a steady guiding hand on the reigns.  Delicate and simple tones and clunks rattle around the bagatelle that mirrors your own dainty cochlear.  It’s easy to get lost in such dwarf loops as they occur again and again, melting over each other in polite collapse.  At around the four-minute mark a constant high-lonely-moan is redoubled turning that sweet milk into smoked cheese marking the start of a watery, pale beauty.

Waiting room music for the hep, hep cats.

michaelbarthel choc monk

Michael Barthel – Randradau (Chocolate Monk) C20 Cassette

Insider bone scrapings and economic scribble.

Side A runs for about 9 minutes and places micro-pieces of clean and energetic German-sounding spoken goof with psychotic milkman-whistle and hissy-Dictaphone-grottage.  Oh yes! Michael barks stern his instructions. These blocks of meaning lock as tight as Duplo bricks but instead of the obvious primary colours this is an altogether mistier proposal.

You what?

So…rather than tan the glitches Mr Barthel exercises all the edges of his palette.  The lion indeed lies down with the lamb with the final few minutes mimicking aching layers of lazy sediment.

Side B starts with off-radio, wrong-phonics and some glorious sepia glossolalia.  A hum and whirr of the taping device is left to whittle away adding a tambour-like drone for an amateur age.  Gloriously smeared sound leaks like straw-coloured plasma from a bad burn.  Oily as balm; dressings are changed for the finale of woollen moans and an almost vaudeville reading of sparse and strangulated word blooms.

It’s a hectic world for sure, but listening to this made me dawdle like a child. Damn…listening to this tape made me a better person. You NEED some!

kent tankred choc monk

Kent Tankred – Organ 1 (Chocolate Monk) C40 Cassette

These ultra-heavy organ manipulations weigh as much a chubby whale loafing about in the viscous and dark brine.

A presence piece that you can, and should, project your reality on to: this is perfect travelling music.

Each organ foldback-loop and full –throated gas-roar is like a cold sun flickering through autumn leaves or watching the savage juxtaposition of a ripped billboard layered with contrasting messages.

Other observations?

  • Large pumice boulders skin your elbows and the dead skin falls like dry sleet.
  • A microphone is lowered into a crimson oubliette.
  • Running into the wind with your mouth open wide until your breath gets caught behind chilly teeth.

This hissing bustle plays well obnoxiously loud and pasty-necked quiet.

Oof!

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Body Morph- Keep Still and be Devoured (Soundholes) C60 cassette 

This tape is an exercise in long-form rustage.

True!  Tones from a dying crab get hoofed through the murky, mystic mix at points but mostly it’s a 1000 yard stare of slowly crashing gears.

On side one I’m picking up cheap-casio keys gummed down under years of tape-varnish & mould-hiss.  I’m hearing a smeared gossamer touch akin to greasy feathers.

Side two gets all lo-maxxed on a horn of some sort; mournful and cool as the night air.  Armenian Jazz Sorrow?  The sound of occasional suffocation?

A true listeners tape, this is no ‘slap it on and do the ironing’ cassette.  It demands full attention and for this thorough investment you are amply rewarded with layer upon layer of ear –silt clogging yr golden wax deposits.

mattkrefting danger

Matt Krefting – Danger (Chocolate Monk) C15 Cassette

Ultra-core tape jaxx.

Super-indefinite and lost imaginings.

It’s the softest breath kissing carbon paper; that most delicate and faint purple image as tender as an early morning bruise.

Memory slides smooth as a trombone made of smog and brass fittings.

Half-formed but fully realised.  The magic happens in that grey blancmange as you use natural electricity to link the un-linkable, paint the un-paintable.

Matt leaves us mortals a few clues – popping candy in a giant’s gob and infrared tinfoil.  Apart from that you’re on your own pal!

Polite yet essential.

Jon Collin

Jon Collin – Sky Writings (Early Music) C15 Tape

If I’d got my finger out this tape would have made the 2016 ‘best of’ lists for sure and will no doubt be top 10 material in sunny 2017.

Fahey, Rose and Nugent fan boys/girls must listen…this tape is so charming I coughed up a cream tea and a cheeky goodnight kiss. This tape made me a damn loving fool!

In the old definition this is a fucking splendid tape (shine, be bright) that warms up my cold heart and makes me smile like reading Nicholson Baker details and footnotes.

A real human-sounding solo acoustic guitar probe the damn nostalgia nodes to conjure up an imagined picnic in a cornfield.  The colours are vivid.  The corn is the creamiest yellow, the sky the brightest blue.  Our blanket the deepest red.

The melodies trip some switch that bursts crisp cornflowers out my chest and replace my blood with silver helium bubbles.

Spiritualised? Do me a favour eh?  I’m really floating in space here mate.  The strums and pickles are complex as spiderwebs but simple as nursery rhymes.  The untitled tunes are as familiar as pins and needles and get under my skin in a similar restless and itchy way; it’s like I’ve always known them as they slip out of reach skidding like a deer on ice.

Oh my!  Such elegance with chipped nails and calloused hands.  The perfect beautiful happiness of aching heart.

fampism

F Ampism – The Resolution Phase (Beartown Records) CD

A tasty CD that I’m now re-imagining as a vinyl EP pressed onto seven inches.

“But why format transfer boy? You may ask.”

Because this is a disc of two halves, that’s why doubter.  An ‘A’ and a ‘B’.  My ‘This Side’ twinned to your ‘That Side’ is strongly suggested to my oatmeal mind.

Let me explain…

A jungle lushness drips through the recent work of Mr F Ampism.  Thick and green, waxy and water-resistant each micro-collage is rich beyond our feeble senses; ethnic percussive loops wobbly like belly fat, environmental recordings gurgle as algae-thick rivers, electronic squirts gush tessellated digital foof.  It’s a sound you can smell and that smell is pregnant and full.

The first three tracks, ‘Monaestry and Math’ to ‘Straight Brains’ are alive with exotic Toucan ‘caws’ and Howler hoots.  The middler ‘The Joint Capsule’ replays Balinese rhythms among the creaking boats, the lapping waves and call of villagers selling shrimp-based snacks.  Gradually a soft tone bubbling erupts in my pocket.  Copper pans are dropped overboard and ‘boaab’ drunkenly in the mud-coloured water as they slowly fill, sway, and sink beneath the waves.

All of a piece these three realised constructions suggest organic life with a face tilted towards a red, red sun.

‘Shabada Transmission’ bucks the trend by laying down heavily in the rumpled bed belonging to Detroit Techno – the synthetic strings and xylophone tones as future facing as jet boots and holidays on Mars.   And in doing so Ampism revels a new destination and we are already deep in ‘Side Two’ territory.

‘Inner Eyelid’ is made up of spare parts, a lone creak, a dropped calliope yet is patched up in the most un-Frankenstein manner.  No flat head no sir! Bolts through the neck?  Forget-about-it. Think more like a slim ankle glimpsed or thick auburn curls just begging to be tousled.

The jazz, in all its hot boiling majesty, infests ‘Thrown Jam 1 and 2 ‘ with Pazuzu sitting in on traps while Regan hams on the vintage synth.  This duo/solo gets ripe!

And, as all things must, this disc ends.  But with a juddering, flustering loop so perfectly placed those plunderphonic dingbats blush crimson and sweat.

finalseed chocolate monk

Final Seed – Untitled (Chocolate Monk) C30 Cassette

Witness the drunken bowling alley vibe on this damp-chiller from Final Seed.

Like a diary opened at random one passage might reveal children squeaking, another, the fumbling fingers of a defective chord-organ.

Dark percussive knocks form a rhythm interuptus ladled on thick like broth. Slack-mouthed and slurry, a voice gnarls on with steaming feet. Wonked-out keyboard extrapolations all bothered with hot-electric butter.  Broken cassette ghost-capture.

Neat eh?  But all the while this is undoubtedly gush from the same mush.  Oh my!

This is serious stuff…like the abstract soundtrack to the sound of making a soundtrack each perfect formula of tones, field recordings and manipulations delight by being both utterly novel and head-scratchingly familiar. So while the diary analogy still holds I’m darting from love-sick boy-teen to worried mother to toddler rocking on their plump heels.  It’s got charm in punnets, invention in spades!

The best album that chump Eno never made.  DEMAND A RESSIUE!!!

Round Bale Recordings

Chocolate Monkey

Soundholes

Early Music

Beartown Records

-ooOOOoo-

the sweet jelly is in the deft cut: joe murray on david birchall/nicolas dobson/javier saso, dylan nyoukis & friends, plastic hooligans and acrid lactations & gwilly edmondez

March 3, 2017 at 6:00 am | Posted in musings, new music, no audience underground | 1 Comment
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David Birchall/Nicolas Dobson/Javier Saso – XZ ::::::::: Brazil (Soundholes)

Dylan Nyoukis & Friends – Mind Yon Time? (Chocolate Monk)

Plastic Hooligans – Untitled (Chocolate Monk)

Acrid Lactations & Gwilly Edmondez – You Have Not Learned To Play & Mock in The Psychic System (Chocolate Monk)

 birchal-etc

David Birchall/Nicolas Dobson/Javier Saso – XZ ::::::::: Brazil  (Soundholes) C30 cassette

Super-charged scrimple-skriffle improv coming at you mixed in, depending on your view, (almost) mono or 3-way stereo.

But what’s going on?

Dave Birchall plays granite-flecked guitar in the left speaker, Javier Saso spills slippery, silvery lapsteel in the right speaker and Nicolas Dobson sprays wild, wild violin all over the place.

Side one is a string piece for three players and it waxes happily, darting in and out of focus like a lazy eye would.  Contributions are in part clotted and meshed (like a scab) and independently driven.  Imagine walking three energetic hounds, each with their own digging, burying, pissing mission.  Their colourful leads are soon a wrapped-up maypole binding your arms and hands.  Got it?

Now replace the noble hounds with these three improv-dudes and the dog-specific missions with group-mind blankness and collective musical mischief and you’ve got the perfect picture!

While the pace is athletic there’s always room for a ruminative cul-de-sac, a wet sniff about a single tone or blunt-thumbed technique.  And as I listen I pass through several phases myself: chin-stroking on the non-idiomatic tip but also horn-throwing on the sexy electric eruption.

On side two I briefly land in a thoughtful strung-out lake but get distracted by amp-pops and bright lead-crackle.  The tension mounts as our three players riff on the giant nothingness that exists right at the point of the horizon; saw, saw, sawing away, whipping up a gentle typhoon that bursts with bloated rain.  It doesn’t take long to plinkety-plonk and things end with that ‘Sweet Child of Mine’ intro-played inside out and over ice.

This is what it sounds like when Slash cries.

dylan-nyoukis-and-friends

Dylan Nyoukis & Friends – Mind Yon Time? (Chocolate Monk) CD-R

Popular wisdom suggests that there is nothing more boring than other people’s drug tales.

Ha! Popular wisdom is a duff grey lie.

On this re-imagining of Dylan Nyoukis’ Fae Ma Bit Tae Ur Bit radio show various sub-underground lads and lasses ‘fess up their first or otherwise notable drug experiences.  Imagine Radio 4 has been snorting and huffing all night long (or something) with Dub Naughty on the controls.

They talk, in soft mumbles and gentle whispers; ‘it was like this…’, ‘we took a taxi…’, ‘I started to feel strange…’

Recorded up close it’s an intimate listen.  Breathy and in your ear(s) – you sense the memories being dragged from that grey-matter prison and forced out into the open (in some case decades later) with all the added memory moss and drama a bit of distance provides.

D-Nyoukis works like a psychedelic Foley artist, twisting the background.  Adding an addled ‘whuff’ or stoned ‘skofff’ to the voices that are dropping cautionary, ecstatic and, in some cases heart-warming tales of sweet, sweet intoxication.   Subtle it is, in the way a shimmering hallucination first grabs you and makes you say “wha?”  But it’s a flanger-free zone yeah?

So…anyone want to split this bottle of Cherry Lambrini? I’m thinking about getting it on now anyhow.

See ya on the other side travellers!  YEAH!

plastic-hooligan-1

Plastic Hooligans – Untitled (Chocolate Monk) CD-R

The aptly named Plastic Hooligans are gentle souls wrapped up in retro Adidas and Fila.

But an obsession with the Arabic world introduces ritualistic field recordings in a primitive electronic cloak.  With a sparse, shady touch, loops are played via old reverb units and malfunctioning oscillators ramping up the potency of these already fairly ‘loaded’ sounds.

The shivers come in four waves.

  • A xylophone tinkles in a French-speaking colony. Delicate as a music box found among boiled chicken’s feet.
  • Moroccan tapes get fed through the mincer. The ‘boing’ of the overdriven hand-drum and voice pinched sonically to release only the most important tones.
  • Rubberised machinery clunks away as a giant horn is blown roughly but slowly. Deep reparative hums.
  • A hiccough bounced across eleven cryptic reverb-drenched minutes. The sort of mind-loop you feel on waking from a cumin-scented dream.

alge-1

Acrid Lactations & Gwilly Edmondez – You Have Not Learned To Play & Mock in The Psychic System (Chocolate Monk) CD-R

The exact Reuleaux triangle-shaped intersection between modern classical, goofy wonk and hardcore improv. Oh yes!

History Lesson #1: The Acrid Lactations have been humble key-players of the untranslatable wonk scene.  Really, really, really free players smiffy that non-idiomatic improv by adding an indefinable ‘something’.  I’ve pondered this conundrum long and hard and the best I can come up with is that ‘something’ might be their slight unhinged quality; a willingness to go the extra mile, wherever that trek will take them.

History Lesson #2: Gwilly Edmondez has ploughed a similarly deep furrow.  A Dictaphone high-priest, instant composition stalwart and one half of those rising stars YEAH YOU!  [The UK’s only father/daughter slack-hop duo pop-pickers.]  Gwilly, the tallest man alive, is a selfless player, an encourager, a persuader whose full-frontal yet ego-less schtick seems to be able to connect with that artistic blank space where anything becomes possible.

Taking this babycake as a whole I’m shocked by the time-shifting quality to these suckered gobbles, hazy trumpets and clogged electronics.

The lumps are bigger yeah! For 20, possibly 30 seconds you could be listening to Pharaoh Sanders (Impulse Era), or Morton Subotnick and then it could be nothing other than the good ole AL & GE.  Things are so precarious I’m on a mental zip-wire sporting a psychic g-string baby.

But readers, it’s the edit that’s the thing here.  In a similar way to the exceptional Hardworking Families latest disc the sweet jelly is in the deft cut taking these pretty much wonderful recordings and carefully layering, stripping and selecting the ripest cheese.

And this editors ear not only multiplies this trio but forges new links and allegiances between sound-nodes.  Put simply; a ‘clunk’ recorded one day now spoons a sexy sigh recorded another and lo!  A whole new thing starts a’going on.

The sounds?  A dignified sniffle and pre-language burrs make up a respectable percentage but add to that bamboo pipes that ape the breath hissing down a human neck, disturb-o-moans and high-octane heffer on brass and tin.  We’re talking “Seriously munged magic” (Nyoukis 2016)

But I’m throwing in a deep balloon-rubber ripping, a damp Dictaphone squelch and a goff-keyboard going electronically slow & low.  Not only but also, the relaxing humming of social insects (ants probably) discuss their complex legal system.

To sum up I’ve got (consults notes, adjusts spectacles and frowns) three quarters goat-legged- spry and muscular, one quarter lazy liquid.  So that’s something for everyone then; time for dreamers to collect themselves and activists to get-up-offa-that-thing.

Right-o.  Discussion proposition?  Dub opened a new door for Reggae.  Teo Macero projected Jazz into an alternate future state.  What about this N-AU versioning then readers?

Like…whoa man.  Makes you think  and shout “welcome to the world Keir J Arnot.”

Soundholes

Chocolate Monk

-ooOOOoo-

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