Miscellaneous Debris

Battles - Gloss Drop

2011-06-01T20:20:00.003+01:00

It’s been four years since Battles released their massive debut “Mirrored”. An album using the math rock blueprints from guitarist Ian William’s previous band “Don Cabellero” .Whilst Built upon the experimental and Avant Garde foundations laid by Vocalist/guitarist Tyondai Braxton. A combination destined for commercial failure. This however was not the case.

The album received a welcoming critical reception and the band even had their songs feature on television adverts and prime time British programmes such as Skins and Top Gear. The success of Battles boils down to the ambition of the band. Which despite their polyrhythmic, experimental and lengthy songs, they never seem at any point pretentious. They know how to carefully craft their compositions’ in a way that musicians and casual music fans are going to pay attention.

The album Gloss Drop sees the band make a hugely anticipated return but this time without Tyondai Braxton. This may not seem of any importance to anyone unaware of Tyondai or indeed Battles but Tyondai’s presence was usually the point of focus live and in the studio. A presence lost that I’m sure at one point affected the future of Battles.

But Gloss Drop does not sound like the difficult second album. It doesn’t try to repent or make up for Tyondai’s departure. This is a seamlessly natural album which flows together from one track to the other whilst still incorporating all the elements from “Mirrored” and more. Ian William’s technical guitar playing and use of effects is as apparent as ever with brilliant keyboard counter points to match it (see Ice Cream).Bassist Dave Konopka and Drummer John Stainer prove to be a much underrated rhythm section with strong grooves and interesting rhythmic displacements.

The most notable difference from the debut is the addition of guest vocalists Matias Aguayo,Gary Numan (Yes the Gary Numan), Kazu Makino from Blonde Redhead and Boredom’s Yamantaka Eye. Each features on four of the twelve tracks, each uniquely propelling their own characteristics and vocal traits whilst interestingly not leading Battles astray. Admittedly infectiously catchy “Ice Cream” featuring Matias Aguayo is probably the closest to pop Battles will probably ever come. It will be a surprise to some how optimistic and catchy the song sounds. But I find that something so catchy and yet so musically ambitious is a rare thing to come by and will certainly provide it with plenty more shelf life for future listening. Interestingly “My Machines” with Gary Numan completely opposes “Ice Cream” .It’s a dark industrial song with highly layered synthesisers, electronic loops and earth shattering drums providing the perfect sound track to a robot apocalypse. Unusual for Battles “My Machines” doesn’t have guitar featuring prominently in the mix and neither does it have many changes instead there is a wall of sound which builds on the repetitive drums groove and industrial bass line of which is typical for electro. Likewise Kazu Makino’s track “Sweetie & Shagg” has an indie esque feel to it but strangely the track “Sundome” with Yamantaka Eye was far more accessible than I ever imagined. Anyone familiar with Eye’s work knows he works with Noise and Avant Garde outfit Boredoms but instead I felt a more dub/reggae feel to his vocals something I usually wouldn’t associate him with or Battles. “Dominic Fade” is a short instrumental weighing in at 1:48 and is the only reminiscence I can hear of Mirrored and such drum orientated songs such as “Leyendecker” and “Snare Hanger”.

There are plenty of different influences integrated into this album which without a closer inspection could be easily missed and this one of my favourites about the album. Each song is like a different piece of a puzzle, each piece stands alone as it’s own portrait yet when you put it all together you realise the overall picture is much bigger. It has the overall consistency their debut exposed, the important progression needed for the second album and an interesting future ahead.

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2011-05-26T20:15:00.001+01:00

Why wont my damned blog post on tumbrl!

Robert Fripp - At The End Of Time

2011-05-26T12:24:00.000+01:00

Robert Fripp's End of time is a live album of more of Fripp's solo ambience & soundscapes.It shares the same premise of the early days with Brian Eno,but Fripp as evolved the concept and sound some what.Interestingly each song is played in a different church throughout England & Estonia,one of which was is in my home town.To me this is a very interesting concept itself,it's certainly not a tour of a typical musician in his early sixties.But Fripp has never been that cliche rock star,he's one of the few older musicians who are still interested to evolve their sound & concepts.

With the large amounts of soundscapes that he has released each has always been diverse and this one especially stands out personally for me.It has an interesting atmosphere throughout,something I can't put my finger on.Perhaps,it's the venues?The music delivers a more optimistic sound as opposed to something a little darker and complicated like Eno & Fripp's "No Pussyfooting".
The tour of churches made me wonder if Robert Fripp is a religious man? or perhaps Fripp is just humble?To me the music sounds like it's created by such a persona.
There's nothing overpowering or demanding to listen to,it's very textured & tasteful.There are no surprises of rapid guitar work or any discordant harmony's,it simply flows with euphoric sounds which make you feel at peace.Songs such as "Evensong:Haapsalu" reminds me slightly, of Vangelis' "Blade Runner"and is probably the closest comparison I can give.

As Fripp says within the cd booklet "The churchscapes performances took place out-side the world of rock music & popular culture;and mostly outside commercial culture"That probably gives you a better idea and description then I could give you for what is in store.

2011-04-27T20:32:00.000+01:00

This blog shall return!

Mike Patton - Adult Themes For Voice

2009-11-03T01:46:00.003+00:00

ADULT THEMES FOR VOICE

Mike Patton

RIO/Avant-Prog

Mike Patton has a large cult following for his versatility & diversity.He's contributed guest vocals to dozens of bands such as The Dillinger Escape Plan,The X-ecutioners,Bjork & massive attack whilst leading his own bands & projects such as Tomahawk,Fantomas,Lovage,Mondo Cane and maintaining a solo career,composing scores for film as well as lending his vocal talents for Transformers 2 & I am Legend.He has very close ties with Avant Garde/Jazz saxophone player John Zorn & collaborates frequently with high school friend & bass player Trevor Dunn.

His high school band Mr Bungle,a group of friends gained him notoriety amongst musicians.Their fusion of genres such as surf,funk & metal made them certainly unique and inspired many bands of the nineties such as Korn & Incubus to blend multiple genres with metal.But it was when Faith No More member Jim Martin wanted to Patton to their replace current vocalist Chuck Mosley and upon joining with give Patton his hugest commercial success.This could be seen as a stigma to people not familiar with his other/more frequent others works.

The album under review is possibly the most risky début ,I have ever head.Fortunately being a fan of his for a while cushioned the blow of how much of an abstract approach he took to recording it.The album just comprising of vocal tracks and various themes in which he creates noise and sounds with his vocals reflecting the themes and vice versa.When listening to this,it can help to acknowledge the title and you may see what the vocals are trying to replicate.The tracks & theme their selves are very dark & sometimes deranged with many of the titles involving death & sex such as titles called ""I Killed Him Like a Dog...And He Still Laughed"" & "Red Mouth, Black Orgasm".
His approach his very similar to his work John Zorn with the Moonchild trio where lyricless vocals & sounds are performed over experimental/Avant Garde music,this certainly shares the same category but minus the instruments your left with 43 minutes of noise vocals.When the concept of an Avant Garde is clear you can begin to try & understand what's really trying to happen.Sometimes I think the idea & release of the album is more a statement then the music itself.I really love the idea of this album,Patton's vocals are spine chilling & performed impressively.He creates sounds which sound impossible to replicate or for that matter even sound like they were created from a human beings mouth (again possibly the point album).The album can grow tiring three quarters of the way through,the beginning feels exciting & unique,because it's certain you've never heard anything like this before but once those feelings diminish it can feel like a novelty and there are moments where there are genuinely hilarious moments such as "Inconsolable Widows in Search of Distraction".

An Avant Garde album with one of the most unique vocalists ever and despite whether you like the album or not,you have to appreciate the effort & creativity.It's not one I play regularly but am glad to listen to once in a while.

Don't expect Faith No More or even anything Patton has done before.

Studio Album, released in 1996

Songs / Tracks Listing

1. Wuxiapian 2:12
2. "I Killed Him Like a Dog...And He Still Laughed" 0:56
3. Smog 0:45
4. The Man In The Lower Left Hand Corner of the Photograph 1:47
5. Robot Sex (neon) 0:25
6. Screams of the Asteroid 0:55
7. Robot Sex (b/w) 0:16
8. Porno Holocaust 1:00
9. Inconsolable Widows in Search of Distraction 3:09
10. "Hurry Up and Kill Me...I'm Cold" 0:06
11. Man Alone In Steambath 1:01
12. Guinea Pig 1 0:35
13. Guinea Pig 2 1:26
14. Guinea Pig 3 0:16
15. Guinea Pig 4 1:42
16. A Woman With The Skin of the Moon 0:37
17. A Lizard With the Skin of a Woman 1:38
18. Catheter 1:18
19. "Fix It So The Bruises Don't Show" 1:20
20. Robot Sex (watercolors) 0:24
21. A Ceremony of Senses, An Alibi In The Red Light District 0:40
22. Butterfly in a Glass Maze 2:19
23. A Leper With The Face of a Baby Girl 2:40
24. The One Armed vs. 9 killers 1:17
25. Pillow Biter 2:42
26. Raped On A Bed of Sand 1:46
27. Violence to the 5th 2:17
28. Red Mouth, Black Orgasm 0:26
29. Wuxiapian Fantastique 0:16
30. A Smile, A Slap In The Face, A Fart, A Kiss On The Mouth 0:26
31. Private Lessons on Planet Eros 0:36
32. "Pneumonia with Complications" 0:13
33. Orgy in Reverb (10 Kilometers of Lust) 4:53

Total Time: 43:00

Captain Beefheart - Safe As Milk

2009-10-30T01:24:00.010+00:00

SAFE AS MILK

Captain Beefheart

RIO/Avant-Prog

Don Van Vliet or pseudonym "Captain Beefheart" has created the most original music I think I've ever heard.His signature sound includes a combination of Rhythm & blues,psychedelia,avant garde,free jazz & spoken word.Certainly not genres for easy listening.You'll either instantly become a fan of his or have a nervous breakdown.Fortunately I become a fan of his.

As a youth he was a good friend of Frank Zappa's who shared a common interested in Rhythm & blues.He also became a promising painter & sculpturer and was offered an art scholarship in Europe which he never perused ....eventually resulting in the creation of Captain Beefheart & His Magic Band.And Like most western bands in the mid sixties rock bands were influenced heavily by blues music & rockn'roll.Bands such as Deep Purple,The rolling Stones,Jimi Hendrix,Led Zeppelin,Cream even Jethro Tull had their débuts soaked in blues,soon to be moulded into something much more their own.
Vliet was much the same,he shared the same passion for blues but veered into a different direction

The album still maintains the blues influence dominantly throughout the record.Vliet's graspy vocals and blues harmonica is very reminiscent of Howlin Wolf of whom was a large influence to Vliet.Also helping to maintain the blues,blues specialist Ry Cooder really puts his signature slide style over the album and even feature's a guest appearance of Taj Mahal on tambourine on "Yellow Brick Road".The opening track "Sure 'nuff Yes I do" shares the same "blue"prints (pun intended)of popular delta standard "Rollin and Tumblin" but gains it's own characteristics with interesting rhythms & Cooder's psychedelic slide.
Songs such as "Zig Zag Wanderer" & "Drop Out Boogie"also resemble much of the same arrangements and grooves of classic Rnb bands of the time.But on these occasions Beefheart's obscure lyrics & interesting instrumental breaks,you'll soon notice they distance themselves from that scene all together.The experimental tendencies stand out far more on such songs as "Electricity"which features dissonant vocals and theremin and "Grown So Ugly" with irregular drum patterns & irregular blues licks,both only to be met by their catchy chorus's.

This album tends to be my most played Beefheart album and is certainly one of my favourites amongst a few others.but I wouldn't necessarily associate this sound with him as for future releases,he would soon venture to the more abstract.If there's such a thing as commercial Captain Beefheart this certainly would be it.Definitely an important album for prog & classic rock fans but don't be suprised if knowone believes you that's it's Captain Beefheart.

Studio Album, released in 1967

Songs / Tracks Listing

1. Sure 'Nuff 'N Yes I Do
2. Zig Zag Wanderer
3. Call On Me
4. Dropout Boogie
5. I'm Glad
6. Electricity
7. Yellow Brick Road
8. Abba Zaba
9. Plastic Factory
10. Where There's Woman
11. Grown So Ugly
12. Autumn's Child

Bonus tracks on the 1999 remastered edition:
13. Safe As Milk (Take 5)
14. On Tomorrow
15. Big Black Baby Shoes
16. Flower Pot
17. Dirty Blue Gene
18. Trust Us (Take 9)

Line-up / Musicians

- Don Van Vliet / vocals
- Ry Cooder / guitar, bass (Abba Zaba solo)
- Doug Moon / guitar
- Alex Snouffer & St. Clair / guitar
- Jerry Handley / bass
- John French / drums
- Milt Holland / percussion, marimbas
- Sam Hoffman / theremin
- Taj Mahal / percusion

Soft Machine - Third

2009-10-25T21:36:00.005+00:00

THIRD

The Soft Machine

Canterbury Scene

With each release Soft Machine's sound showed signs of evolution.The first two Soft Machine release's were combinations of psychedelic rock & jazz,which was soon to become jazz fusion or more commonly acknowledged with Soft Machine,the Canterbury Scene.
Both of which Soft Machine were pioneers.

But Soft Machine's third is by far their most drastic change and perhaps their most defining album.The leap from their Second to Third saw huge change into their sound.Vocals appeared less frequently and instrumentals dominated their albums with complex arrangements,more experimental recording techniques,new instrumentation & a new member to the band (Elton Dean).Other notable differences were the amount of songs and their length in this case four tracks,all of with nearly 20 minutes in length.Which clearly shows Soft Machine weren't looking for mass acceptance or commercial success.Their is not doubt a huge free jazz influence which plays a prominent part through their long jams and improvisations most notably the addition Elton Dean and his Alto Saxophone & incredible solo's is crucial to their sound.Other musicians who recorded on this album but weren't full time members include Lyn Dobson on Soprano Sax & Flute,Jimmy Hastings also on Flute & Clairnet.With such amounts of instrumentation allows Soft Machine to take lengthy solos and create intriguing harmony's without the feeling of repetition.

The first track "facelift" is perhaps their most radical with Mike Ratledge & Robert Wyatt playing a long erratic discordant introduction with their organs soaked in effects before leading into a complex theme with horn harmony's reminiscent of Ornette Coleman then leaping into an upbeat main theme,which becomes the songs focal point for impressive solos by Ratledge & others.It's also features feedback & reverse tapes loops played at various speeds over an already complex arrangement and ends with the main theme slowed down to half the speed.The whole album is certainly one hell of trip with sections of songs recorded live and others within the studio really explains its unpredictability and chaos.This is perhaps why the album doesn't lack in energy and why the musicianship is excellent.Robert Wyatt only vocal performance on the album with third song "Moon In June" acts as the bridge between Soft Machine's second and Third.Which is something that could of been on albums before,though still upbeat it brings a little calmer edge to the album in comparison to the rest of the album allowing the listener time to recuperate and prepare for the next ride.

Another highlight performance is bassist Huge Hopper whom with such crazy sounds & arrangements Huge really holds each song together & provides a solid rhythm section and perhaps the only sound of sanity in the album.

Certainly one of Prog Rock's,Fusion's,Canterbury's most important albums and the beginning of Soft Machine's venture into deeper jazz territory.Check it out at all costs.

Studio Album, released in 1970

Songs / Tracks Listing

1. Facelift* (18:54)
2. Slightly All The Time (18:14)
3. Moon In June (19:18)
4. Out-Bloody-Rageous (19:17)

Total time: 75:43
* 'Facelift' was recorded live at Fairfield Hall, Croydon, January 4, 1970 and at Mothers Club, Birmingham, January 11, 1970.

Line-up / Musicians

- Robert Wyatt / drums, vocals (track 3), piano (track 3), organ (track 3), bass guitar (track 3)
- Hugh Hopper / bass guitar
- Mike Ratledge / organ, piano (except track 3), electric piano (except track 3)
- Elton Dean / alto sax (except track 3), saxello (except track 3)
- Lyn Dobson / flute, soprano sax (track 1)
Guest musicians:
- Nick Evans / trombone (track 2)
- Jimmy Hastings / flute, bass clarinet (track 2)
- Rab Spall / electric violin (track 3)

Weather Report - Self Titled

2009-10-25T16:30:00.006+00:00

WEATHER REPORT

Weather Report

Jazz Rock/Fusion

Miles Davis had pioneered jazz fusion and in his band at the time were Weather Report's own Joe Zawinul & Wayne Shorter who featured on such landmark albums as "In A Silent Way" & "Bitches Brew." Zawinul also contributed his own song on "In A Silent Way" seeing him share album credits with Miles himself.It's that specific sound that would feature again not more then two years later wit the relase of Weather Report's self titled.
Both albums had seen the use of electric instrumentation instead of the standard acoustic set up. which to some,this may of been deemed blasphemous with critics calling Miles' a sellout. But it also brought jazz to a whole new audience.Weather Report with other electric jazz bands such as Return To Forever & The Mahavishnu Ochestra (all of which featured members from Miles Davis' band) became the forefront of jazz fusion/jazz rock and are credited as the true pioneers of the genre.Unlike the previously mentioned bands Weather Report's début continued the experimental and psychedelic sounds from Bitches Brew.But rather keep the chaotic intensity of Bitches Brew's avant jazz sound.It shared the pace,flow and experimentation of "In A Silent Way" creating an exciting yet risky début.

As the band is a far smaller unit then Miles band this leaves alot for freedom for the five musicians to roam.Wayne Shorter's Soprano sax playing is a real highlight of the album.Over complex rythms and experimental sounds his tasteful playing adds more texture & makes this farout album more grounded,this is more notable on song "Tears."A good example of why Weather Report have always sounded so unique throughout their career was their ability to experiment & incorporate various music styles.Though prominently a jazz group,influences of rock & world music can be heard throughout this album and later in their career funk would also become a dominant sound for the band. Founding member & bassist Miroslav Vitous's has an impressive performance on track "Umbrellas" although technically a free jazz song,his chunky distorted bass similar to that of Jack Bruce's bass tone of the time and a solid groove provided by drummer Alphonse Mouzon shows their rock tendencies although this would never be fully explored.

I began listening to Weather Report after hearing their repatoir of musicians more specifically bass players such as Jaco Pastorius,Victor Bailey & Alphonso Johnson and although I was very impressed by the albums featuring them,this has become a favourite of mine.Fantastic musicianship,an excellent lineup & a historic album should persuade you to buy this.

Studio Album, released in 1971

Songs / Tracks Listing

1. Milky Way (2:33)
2. Umbrellas (3:27)
3. Seventh Arrow (5:22)
4. Orange Lady (8:43)
5. Morning Lake (4:25)
6. Waterfall (6:20)
7. Tears (3:25)
8. Eurydice (5:45)

Total Time: 37:39

Line-up / Musicians

- Airto Moreira / percussion.
- Alphonze Mouzon / drums, voice
- Wayne Shorter / soprano & tenor saxophones
- Miroslav Vitous / acoustic & electric basses
- Joe Zawinul / acoustic & electric pianos

Additional musicians:
- Don Alias / percussion
- Barbara Burton / percussion

Miles Davis - Bitches Brew (& Bitches Brew sessions)

2009-10-24T06:22:00.004+01:00

BITCHES BREW

Miles Davis

Jazz Rock/Fusion

I don't understand how this has become the best selling jazz album of all time?How can something so inaccessible be so adored?These are questions you can't help but ask yourself when you listen to this.It's not due to poor content.But it's representation.Possibly an album only a minority may be attracted to.It takes great influence from psychedelic rock and avant garde cross breeded with Miles' already distinctive sound.This is what makes me find it difficult to see it be so successful.Posing the question"where did these avant jazz fans suddenly come from?"Free jazz musicians had already been accomplished way before this release such as Ornette Coleman & even Miles' own John Coltrane had showed free jazz tendencies.The difference between this and others before it is a whole perspective of musical ideology.The combination an unorthodox recording procedure,electric instruments and new & various musical influences begin to explain the nature of the album and Miles' persistence to explore and push boundaries.By now I hope you've guessed that this isn't going to be an easy album to listen to but you'll soon see why this album is held is such high regard.

As always Miles' & his band perform huge musical improvisations usually based on psychedelic repetitive grooves echoing Santana's early recordings but with much added intensity and experimentation.The overall tonality of the album really explores dark & haunting themes that on occasion can be explosive and quick paced such as my personal favourite track"Bitches Brew" which Miles' trumpet is coated in reverb.Which when played echoes that of a person screaming which can send shivers down your spine.Such additions of doubling instruments can explain it's complex and chaotic sounds such as using a double bass & electric bass,two drummers plus percussionists and two electric pianos (one piano player in each speaker).The lineup & standard of musicians is also fantastic with some of the my favourite musicians in jazz featuring on the album such as Weather Report's Joe Zawinul and Wayne Shorter contributed their own material.

Miles' really accomplished something fantastically new and timeless with this album but not all credit can be handed to Miles' it's also producer Teo Macero who shaped the album by splicing various sections of songs to one another and adding all sorts of instrument effects making him equally as crucial to the end result.

This won't be for everything but I insist you'll be missing something extremely special if you don't check it out.It's certainly one of my favourite albums and it truly deserves its high praise.

Studio Album, released in 1970

Songs / Tracks Listing

Side one
1.Pharaoh's Dance (20:06)
Side two
2.Bitches Brew (27:00)
Side three
3.Spanish Key (17:34)
4.John McLaughlin (4:26)
Side four
5.Miles Runs the Voodoo Down (14:04)
6.Sanctuary (11:01]
7.Feio [bonus track] (11:51)

Line-up / Musicians -Miles Davis/trumpet
-Wayne Shorter/soprano saxophone
-Bennie Maupin/bass clarinet
-Chick Corea/electric piano
-John McLaughlin/guitar
-Dave Holland/bass
-Harvey Brooks/electric bass
-Lenny White/drum set
-Jack DeJohnette/drum set
-Don Alias/congas, drum set
-Juma Santos(credited as "Jim Riley")/shaker, congas
-Larry Young/electric piano
-Joe Zawinul/electric piano
-Billy Cobham/drum set
-Airto Moreira/percussion

THE COMPLETE BITCHES BREW SESSIONS

Miles Davis

Jazz Rock/Fusion

If you've escaped with your life and sanity from hearing the original Bitches Brew and are looking for more,this is great value for money and a great way to extend your listening to see the whole picture of one of the greatest and more innovative albums ever recorded.It includes many more contributions from Joe Zawinul and plenty more of Miles Davis.The original album is a landmark in jazz history and two more discs are a great way to appreciate it.

However....If you haven't heard the original album I suggest you do before purchasing the set as it certainly may not be your cup of tea.But if you think you've got an open enough mind you may certainly enjoy this.It's certainly essential listening for jazz fans but more so a great addition to a collection for everyone else.

Boxset/Compilation, released in 1998

Songs / Tracks Listing

Disc one

1. Pharaoh's Dance (Joe Zawinul) - 20:06
2. Bitches Brew (Miles Davis) - 26:58
3. Spanish Key (Davis) - 17:34
4. John McLaughlin (Davis) - 4:22

Disc two

1. Miles Runs the Voodoo Down (Davis) - 14:01
2. Sanctuary (Wayne Shorter) - 10:56
3. Great Expectations (Davis - Zawinul) - 13:45
4. Orange Lady (Zawinul) - 13:50
5. Yaphet (Davis) - 9:39
6. Corrado (Davis) - 13:11

Disc three

1. Trevere (Davis) - 5:55
2. The Big Green Serpent (Davis) - 3:35
3. The Little Blue Frog (alternate take) (Davis) - 12:13
4. The Little Blue Frog (Davis) - 9:09
5. Lonely Fire (Davis) - 21:09
6. Guinnevere (David Crosby) - 21:07

Disc four

1. Feio (Shorter) - 11:49
2. Double Image (Zawinul) - 8:25
3. Recollections (Zawinul) - 18:54
4. Take It or Leave It (Zawinul) - 2:13

Total time: 264:40

Line-up / Musicians * Don Alias - Percussion, Conga, Drums
* Khalil Balakrishna - Sitar
* Harvey Brooks - Bass, Electric bass
* Ron Carter - Bass
* Billy Cobham - Drums, Triangle
* Chick Corea - Electric piano
* Miles Davis - Trumpet, Vocals
* Jack DeJohnette - Drums
* Steve Grossman - Soprano saxophone
* Herbie Hancock - Electric piano
* Dave Holland - Bass, Electric bass
* Bennie Maupin - Bass clarinet
* John McLaughlin - Guitar
* Airto Moreira - Berimbau, Cuíca, Percussion
* Bihari Sharma - Tabla, Tamboura
* Wayne Shorter - Soprano saxophone
* Juma Santos (Jim Riley) - Conga, Shaker
* Lenny White - Drums
* Larry Young - Organ, Celeste, Electric piano
* Joe Zawinul - Electric piano

Miles Davis - In A Silent Way

2009-10-21T19:21:00.004+01:00

IN A SILENT WAY

Miles Davis

Jazz Rock/Fusion

1969-70's is always hailed as the most important years in the 20th century.Political and cultural change had come about in the world drastically.Such as events as the veitnam war,the assassinations of Martin Luther King & J.F.K evoked riots and protests and were crucial in the change of society's perceptions.Movements began in vein in which people preached peace & love and to take a stand against "the system" (many of these were met by police brutality).Drugs such as Lsd were also extremely popular amongst the younger generation of musicians & their fans which would be a huge influenced on their music.Miles took influence by this sound and decided to bring change to his music leaving behind the typical acoustic jazz set up and being in electric instruments and a new type of band as well.Within his band nearly all of which went all to be hugely successful in jazz,fusion and world music.Amongst some were Joe Zawinul,who wrote most of second album track In a silent Way.He with Sax player Wayne Shorter would soon leave Miles' band to become the prominent members of Weather Report.Other jazz fusion pioneers such as John McLaughlin,Chick Corea and Herbie Hancock also feature.This in itself is what drew me to hear the album.It features possibly one of my favourite line-ups ever.Critics became furious with Miles' electric change and classed him as a sellout and obviously this resulted in alot negative reviews.But to their surprise Miles' not only progressed from the bebop daysbut introduced a whole new generation of music fans who would use this album to find their opening into the jazz world.

The album It's self only includes two tracks Shhh/Peaceful & In a Silent Way/It's About That Time.Both tracks really reflect the cultural psychedelic sounds of the decade but also gives you the feeling this is something different and special.Neither really include any solos of extreme intensity you could expect from bebop or a spontaneous leap into a chaos fuelled jam that you might expect from of rock music.But has the feel of ambience.Especially Miles' trumpet which still has enough pace and character not to render you unconscious.Ultimately each song still features the improvisation and main theme structures which are always prominent in jazz but has the sound of an music experiment which worked creating some new.I particularly love this album,as it introduced me to a whole new world of jazz and musicians alike.

Definitely an essential album for any music fan.

Studio Album, released in 1969

Songs / Tracks Listing

side one
1.Shhh/Peaceful (18:16)
"Shhh" - 6:14
"Peaceful" - 5:42
"Shhh" - 6:20

side two
2.In a Silent Way/It's About That Time (19:52)
"In a Silent Way" - 4:11
"It's About That Time" - 11:27
"In a Silent Way" - 4:14

Line-up / Musicians

-Miles Davis/trumpet
-Wayne Shorter/soprano saxophone
-John McLaughlin/electric guitar
-Herbie Hancock/electric piano
-Chick Corea/electric piano
-Joe Zawinul/organ
-Dave Holland/double bass
-Tony Williams/drums

Releases information

LP Columbia CS-9875 (1969)

Omar Rodriguez-Lopez & Jeremy Michael Ward

2009-10-18T18:21:00.004+01:00

OMAR RODRIGUEZ-LOPEZ & JEREMY MICHAEL WARD

Omar Rodriguez-Lopez

Heavy Prog

This is a collaboration between Omar Rodriguez Lopez & Jeremy Michael Ward.Both of which very important to birth and evolution of The Mars Volta.Omar of course the primary song writer and group director for the Volta and Jeremy who provided the ambient and soundscape effects for De-loused In Comatorium and their EP Tremulant contributing to a more depthful and atmospherical Volta. Unfortunately Ward died from a heroin overdose at the age of 27 a month before the release of their debut De-loused and in tribute five years later Omar produced and released this album which originally was never going to be released was to be only to be shared around their circle of friends. Now It's important to say this is certainly not progressive rock in any shape or form and I think people can only be dissapointed by this record if they have no knowledge or awareness of Avant Garde,Music concrete and other such noise music.The only relevant comparison I can associate this album with would be avant composer Karlheinz Stockhausen.Without this knowledge you may be lost.This album consists of such effects and sounds which bare little resemblance to melody or structure but explorations of sounds and atmospherics providing themes and moods.As far as I can tell there is no feature of standard rock instruments such as guitar and drums and may just feature keyboards and modulators. Personally being interested in such music I find this album very intriguing and was ultimately impressed.Pretentious noise?possibly.But fantastic noise none the less.

Old Volta with Jeremy Ward

Please heat this eventually

2009-10-18T14:38:00.004+01:00

OMAR RODRIGUEZ-LOPEZ & DAMO SUZUKI - PLEASE HEAT THIS EVENTUALLY

Omar Rodriguez-Lopez

Heavy Prog

This is an epic collaboration between two important figure in the progressive rock scene,from two different decades.Damo Suzuki best known as the one of the vocalists from Can who appeared on perhaps their best known albums during the 1970's (Future Days,Ege Bamyasi & Tago Mago) & Omar Rodriguez Lopez best known as the guitarist and band leader of The Mars Volta.

First of all though it's titled as a collaboration album,it's pretty clear Damo had no control over the quality of music as the musicians are from previous Omar solo recordings.But that being said this particular line-up is my personal favourite Omar Rodriguez Lopez group and certainly the most jazz inspired.Now the scene has been set it's easier to begin to understand the album and it's direction.Please Heat Eventually is one long song which has been split into two separate tracks (Each one spanning a side of the record)and within each separate track three parts or divisions of the song.The result one twenty five minute song.It's clear Omar & Damo shares the same ambitions of the experimental and improvisational sides of music which is clearly heard on this recording..The song itself is wonderful combination and overall musical acid trip fans would expect from the two.Essentially it's one long jam with Damo improvising lyrics "sung in no one particular language" over psychedelic themes provided by Omars group featuring lengthy guitar solos,fusion rhythms and powerful performances from Adrián Terrazas-González on saxophone & bass Clarinet. But to confuse us Omar & Damo fans even more.The album was recorded into sections some live and some studio this can be quite noticeable as most of the musical themes are evolved and explored some can end abruptly,which is very possibly the merging of the two different recording settings.But to say that as a downfall of the album is really splitting hairs.

The true downfall and the unfortunate result of my low ratings is mainly me abiding by the prog archives rating guide.As this is only released as vinyl and only contains one song.I would have to put this amongst the collectors/fans which only has the rating of two stars.But to redeem myself and the album I would recommend the 2 disc Japanese edition of Omar Rodriguez Lopez's Se Dice Bisonte, No Bùfalo which not only contains the fantastic original album with an instrumental version of this song.It also contains Please Heat Eventually in full on the bonus disc.

Great album,unfortunate format.

Some extremely short,rare and bad video quality footage of the two performing.

Robert Fripp - Exposure

2009-10-13T09:38:00.005+01:00

EXPOSURE

Robert Fripp

Eclectic Prog

This is Robert Fripp's solo début released on June '79 and it includes a huge list of guests on the album making an incredible lineup including Peter Hamill,Phil Collins,Peter Gabriel,Tony Levin and Brian Eno.You'll notice that many of the musicians listed Fripp has worked with before either collaborating or appearing as a guest musician which helped form this unique sound.Making this his first album where you hear Fripps new wave influence creeping in and becoming a dominant part of this album and future Fripp releases throughout the eighties.Which If you only aware of King Crimson's seventies work,this could sound like a very strange occurrence.

Throughout the album the songs take many shapes and forms from hard rock songs to ballads and ambience which for a solo debut brings out the many sides of Fripp which we all know and love.And that is to be expected from Fripps versatility.But in this case,this can make the album feel unstable and have a lack of continuity about it.He also reuses many sounds and techniques you may recognise such as Frippertronics made famous by the help of Brian Eno which on many occasions gives you the feel of deja-vu.This isn't the only sound which you'll recognise there's also such songs as "Breathless" which could be an unofficial reprise of King Crimson's red and "Disengage" being a slightly altered Larks Tounge in Aspic II.Also a revisited version of Peter Gabriel's "Here comes the flood" For a solo debut such actions as these can't help but diminish its quality,making it feel this album is a King Crimson B side album.These are sounds which we already familiar with and for an album which remains inconsistent in genre,it never fails to bother me.So this why I rate it as an album for collectors/fans only and recommend you to hear Fripp & Eno's evening star for the experimental ambient pieces and KC'S larks tongue and Red.

There's some great ideas on the album and an amazing lineup of musicians but it doesn't hold up to his work with the mighty King Crimson or have the ground breaking ambient appeal of Fripp & Eno's No Pussyfooting.

The Return to Gilderkesh 4 Parts 1-2

2009-07-28T14:30:00.004+01:00

This is a short science fiction film,written and directed by Tom Northrop.

Cast
Dan Cosgrove(me)- Dr. Moremen
Tom Northrop - Sky Dive
Tim Threadgold - Voltage
Tallha Abdulrazaq - Sagat

Jaco Pastorius - Live In Italy

2009-07-28T11:47:00.004+01:00

LIVE IN ITALY

Jaco Pastorius

Jazz Rock/Fusion

A brief review:

I don't seem to share everyone's high praise for this album,which is unfortunate because it is a great album,but perfect by no means.When you listen to a fusion album especially one lead by probably the greatest bass player in the world,It would be difficult not to judge this solely by Jaco's bass playing alone.Which I will purposely avoid on this occasion,but that isn't the problem I have with it.

My problem,though a fairly small one can be seen from the very beginning as soon as Bireli Lagrene enters with a guitar solo,where he trades back and forth from shred guitar to funk but then shockingly and distastefully IMO comes with pinch harmonics with an over the top distorted rendition of smoke on the water which then he fumbles into Weather Report's Teen Town.This kind of surprising change in style happens throughout the album on multiple occasions.He changes from clean funk guitar into hard rock.,the most notable time is during their cover of "I shot the Sherrif" he sounds like Eddie Hazel for one momment then Eddie Van Halen the next.Which when given the funky rhythm section holding down the groove,it seems like something of a novelty.My problem isn't the fact it's bad playing,because it's not.There's some very tasteful moments in his playing and it's always at a high standard.It's the fact it sounds completely unnecessary,which I know comes down to taste alone.But this is surely very important,especially in a trio.

But once I accepted the guitar playing was not to my taste and I realised this was going to be very different to other Weather Report or Pat Metheny,I began to see the light at the end of tunnel.The moment Jaco enters in teen town his playing his exceptional and makes the album a worthy listen.In fact I'd go as far by saying he saves the album (which as the album is titled under his name,it points out the obvious) I would say this album perhaps has my favourite live performances by him.It shows all sides,possibility's and effect that the electric bass can have most when placed in the heads of a great musician.Jaco is known for going off on tangents,but as he does so,he remarkably keeps the groove and virtuoso skill,still keeping the most difficult of basslines extremely tasteful no matter how high the register.And with such a funky drummer (who still remains unknown to me) you'll realise funk is the definitive genre of this performance.And even preformed convincingly by Bireli Lagrene.

For something which could realistically be seen as a bootleg,it's a great album and I don't believe anyone would turn down the chance to keep hearing Jaco.For me this album gets a 3 due merely down to a matter of taste,as I feel everything he did solo and with Weather Report is at a better standard.I would highly recommend the trio of doom with John McLaughlin,Jaco & Tony Williams though short lived (just one album)it was everything this album should of been and more.

Teen Town performed by Weather Report

Omar Rodriguez - Self Titled

2009-07-28T09:45:00.006+01:00

OMAR RODRIGUEZ

Omar Rodriguez-Lopez

Heavy Prog

This is Omar's Second album and his first out of five in the Amsterdam series in which he began recording them in the Netherlands around 2005.Other albums that were to follow in the Amsterdam series were Se Dice Bisonte, No Bùfalo ,The Apocalypse Inside of an Orange,Calibration and Megaritual.

Simultaneously this is the first album for the Omar Rodriguez Lopez Quintet in which most of the Amsterdam series albums were recorded.An important factor to note,is whilst listening to these albums.You'll notice they follow more of a similar style and pattern in comparison to other Omar releases.Others tend to experiment more with loose jamming and incorporate instruments such as synthesizers,drum loops and spacey sound effects.which don't usually feature highly within the quintet,making other releases have a far more electronic and psychedelic nature.

But this is not the case with this album.The songs although long in length seem more structured despite their improvised nature,where there are reoccurring themes and riffs almost like that of a jazz band in which there's a head,solo,head,solo etc.It's with this I feel this album excels,it leaves behind the snobbery of jazz but still gives you the tight musicianship and improvisations.And of course the high energy,experimentation and passion which Omar always brings to the table.Of course if you know anything about Omar from either solo projects or The Mars Volta you've already realised he doesn't care much for music theory and would rather create his own methods and sounds,which do him great justice with his self titled,As you can hear his motivations and expression clearly through his playing on this album rendering him with a completely unique style.

This album in my honest opinion features his best guitar work but that's not to say he steals the lime light.Adrián Terrazas-González,who also used to feature with The Mars Volta up to Octahedron completely tears it up on Saxophone & Bass clarinet.Most notably on the high energy second track Regenbogen Stelen Van Prostituees giving an incredible performance reminding me of a young Mel Collins in King Crimson and perhaps almost to his great standard.It's a shame he isn't playing with the current Mars Volta group as his playing really helped shape and add another dimension to much of Omars work.

The self titled album features only five tracks.The first track,one of which is the albums shortest reaching only at 3:22 consists of Gongs,Tambourines,Reverse symbols with various percussion and effects.Which continuously builds growing louder to eventually,the crescendo of the piece releases you into Regenbogen Stelen Van Prostituees (Stealing Rainbows From Prostitutes)relieving you from the tense opener into something more chaotic and fun.

The longest track reaching 17:27 in length is Jacob Van Lennepkade which only consists of very few riffs but leaves the quintet with endless musical possibility's to explore which leaves a small reminiscence of John Mclaughlin and other such fusion.Omar also recorded a second part to this, which features on another Quintet album "The Apocalypse Inside of an Orange" and eventually was to be moulded into Visceras eyes features on The Mars Volta's third album,Amputechture.This is something you begin to appreciate with Omar's solo releases as there more jam and improvised based.You hear these songs in there rawest form and in a live setting which is a far cry away from the high production of The Mars Volta (Although Omar Produces all Mars Volta & Solo) This and the small amount of tracks could be seen as negative thing from the eyes of a Mars Volta fan.But I personally feel this is what makes this album great and stand out and away from other Mars Volta releases,as it feels much more personal,something which I relish in music.

Overall a very enjoyable album.It should please Omar and Volta fans alike though it's a purely instrumental album.The Quintet/Amsterdam series is some of Omar's best work and if your in need of a follow up,I would recommend The Apocalypse Inside of an Orange.

Omar Rodriguez Lopez - The Apocalypse Inside Of An Orange & Absence Makes The Heart Grow Fungus

2009-07-28T00:50:00.006+01:00

THE APOCALYPSE INSIDE OF AN ORANGE

Omar Rodriguez-Lopez

Heavy Prog

This is by far my favourite Omar release and quite possibly one of my most listened to albums.With Omar's solo & Mars Volta releases there are certain elements in which Omar brings within every song he features on and have subsequently become a prominent part of his playing and overall sound.There is no doubt he has influences from avant guard,Jazz/fusion,progressive rock and Puerto Rican musicians and this album perhaps captures these more so then his earlier solo albums released prior to this revealing itself as a far more concentrated record.

This is his fourth solo release and second as the Omar Rodriguez Quintet with a line-up of five musicians with roles like that very much of a jazz band featuring sax/bass clarinets,keyboards and the obvious drums,bass and guitar.The overall essence of the album from first listen you'll release how improvisation and spontaneous jamming is the nature of this album.Though each song seems to veer from one extreme music style to the next with Melting Chariots being very much funk rock opener for the album next to sparked from the insult list almost being Santana Esq then to the very psychedelic/avant realms of the self titled song Apocalypse inside of an orange.The track listing is very much like that throughout the album which would surely make you think that could would loose the context and overall theme of an album but that's irrelevant,when there isn't a style to begin with other then Omar's.But that's the brilliance of this album and Omar in general,It doesn't loose touch of it's purpose.Others things you may notice is jams and ideas making reprises and being remodelled for future Mars Volta songs.This albums example is Jacob Van Lennepkade II which would soon become Viscera Eyes on the album Amputechture.

So if your already a fan of The Mars Volta and Omar or even fusion music this album is not missed. Recommend songs:Melting Chariots & Coma Pony.

ABSENCE MAKES THE HEART GROW FUNGUS

Omar Rodriguez-Lopez

Heavy Prog

This album was eventually released in 2008 has been in the making since around 2002.With the break up with At The Drive and the beginning of The Mars Volta you could view this album as a documentation of Omar's evolution as an artist.From the very start of the record you get the feel of the opening track Hands Tied to the Roots of a Hemorrhage could of featured on a At The Drive In album or perhaps The Mars Volta's Tremulant EP.Though a great song this may be the reason for the albums weak point which would be consistency.

I must say though,this is among my favourite Omar solo records and experimentation and dissonance features very heavily throughout the album.This album certainly has to be one of Omar's most experimental.This features heavily in the albums sound almost making it more a complete experimental/psychedelic record if it weren't for songs such as Tied Prom Digs on the Docks and Hands Tied to the Roots of a Hemorrhage learning towards Prog Rock (which are also my favourite tracks) This combination of psychedelia and rock could almost be comparable to a modern Syd Barret era Floyd (Whom influenced Omar tremendously).Omar has the tendency to play various styles and has no exception here.The songs seem to flip back and forth from styles and you find yourself often confused by the beginning of a song taken an unexpected turn to somewhere you never expected.But the great thing with this record is though you have no idea where the songs are taking you and it's the journey it takes in which you benefit, which is the great thing about it.There is no doubt this is a strong album with strong songs it just lacks a very slight theme and overall tonality.This isn't to say I expect every song to intertwine with one another but these various songs over a period of time have been placed onto an album which gives it the feel of a compilation album.

So for Mars Volta fans who disliked the avant & ambient moments in Frances,this album may not be for you.Otherwise Omar & Mars Volta fans alike will love this.