4/15/2021 0 Comments Sigur Ros Takk Full Album Torrent
The voices of comedians and a president are presented, mangled and straight, in initially hypnagogic forms that become more fractious, juxtaposed against passages of rolling drums recalling Vareses Pome Electronique and a quasi-speed Parmegiani as much as Milton Graves works, or particularly the pieces touchstone; John Cages 1942 radio play The City Wears a Slouch Hat.Back in the mid-1990s, before Lee Norris went solo and started the Neo Ouija label, Metamatics was a duo with Dominic Kennedy, releasing a run of influential 12s on the influential Clear imprint.A Metamatics Production collects those early plates and rattles through the duos fuzzy take on 90s dance formula, fudging the edges of jungle, techno and electro.Its gorgeous stuff that still holds up decades later, mostly because its out on its own; the most obvious reference point would probably be the duos Clear labelmates Plaid, but Metamatics were more skeletal and undoubtedly funkier.
Spiking the essence of Bukem et-als resoundingly popular liquid db, Norris and Kennedy carve out slippery grooves on jazzy low-enders like Swimmer and Raytracks. Skunk Me and Two the Point meanwhile point at the pad-rich Midwestern shuffle of Norriss Norken project with elegiac synth-house moods and fathoms-deep beatbox loops. Dope for the Robot still sounds completely fresh, augmenting an almost Drexciyan robotic squelch with feather-lite melodies and clattering beats, and Piece it Together settles into a sexy downtempo groove that lays the groundwork for Metamatics next run of releases. Well good. Only nine months after her momentous debut solo album Ekhidna, the guitarist is back fronting her trio. With their previous album, Smells Funny, this explosive and expansive trio experienced a breakthrough of sorts, having gone from strength to strength through five albums since their 2011 debut Shoot, gathering respect from both rock and jazz camps, sharing big stages with the likes of John McLaughlin and Black Sabbath, and being equally comfortable on jazz and rock stages. Hedvig enforced this breakthrough with Ekhidna, appearing on both jazz and rock best of 2020 lists, like coming in third in Progs Album of the Year poll. She was included in Downbeats 25 for the future and received heaps of international attention and great reviews.With the hypnotic title track, the spacious ballad Four Candles and generally a more varied mood, Ding Dong. Youre Dead. is the trios most dynamic album to date. Sigur Ros Takk Album Free And OpenThat said theres still enough solid and creative riffing here to satisfy the headbangers, as well as the jazzheads, as they further explore the free and open landscapes most notably started with their Black Stabat Mater album and continued with Smells Funny. As Nate Chinen wrote about Black Stabat Mater in JazzTimes: Her trio, which has Ellen Brekken on bass and Ivar Loe Bjrnstad on drums, caught my ear then with its audacious style references: the loose swagger of early Black Sabbath; the density and prowl of peak Led Zeppelin; the expeditionary urge of Jimi Hendrix; the incantatory fervor of John McLaughlin. As recent performances have shown, online and in the flesh, this trio radiates confidence and have become a surefire hit on the Norwegian live scene. And while we rightly praise Hedvigs exceptional abilities, lets not forget how important the rhythm section is to make it all work so well. Ellen Brekken is an accomplished bassist, driving the band just as hard on the electric bass as on the acoustic. Then theres Ivar Loe Bjrnstad, not your regular rock drummer, not your regular jazz drummer, but in possession of the loose swagger mentioned above.Hedvig first picked up her mothers acoustic guitar at ten, before discovering a whole new world through her fathers jazz and rock record collection as a teenager. She was given her first electric guitar and amplifier as a confirmation present. Contrasting one side of haunting atmospheres evoking the feel of below-deck on a slave ship, with one side of politically pointed concrte and jazz spasms, Freedom is among the strongest debuts in this field weve heard in years. The latest from the musical wing of NYCs Fridman Gallery, Jacksons visionary first record is like little else in the contemporary sphere, placing a hugely varied electro-acoustic palette of strings, keys, electronics and vocal samples at the service of a timeless, avant style of storytelling, and with a personalised depth and purposeful pacing that leaves us rapt. As one may be able to gauge from its themes, its not an easy listen, but it is one that divines a portent strength in its poignant sadness and the artists skill in theatric suggestiveness. Critically Freedom manifests as part of the artists search for an African American aesthetic for electroacoustic music that speaks to all people in order to foster conversation about contentious subjects. The first side spells out a quiet but truly harrowing 22 minute transition from creaking drones, whispers and whimpers, to seasick string dissonance and noise with a patience that evokes the scale and terrifying nature of the ordeal suffered by African slaves, and with a queered coda that really sets it from a modern perspective. Expectations set, Jackson upends them on side Bs mix of liminal electronics ruptured by original jazz arrangements and the sampled equivocations of prominent African Americans religious figures on LGBTQIA people.
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