Sunday, May 20, 2018

JAN DUKES De GREY – Mice And Rats In The Loft (Transatlantic Records / LP-1971)




Label: Transatlantic Records – TRA 234
Format: Vinyl, LP, Album / Country: UK / Released: 1971
Style: Psychedelic Rock, Folk Rock, Acoustic, Free Improvisation
Recorded at Tangerine Studios, London, 1971.
Design [Sleeve] – Caroline Browne
Photography By – Keith Morris
Engineer – Robin Sylvester
Producer – Stuart Taylor
Written-By – D. Noy
1st Original UK Pressing
Matrix / Runout (runout stamped A): TRA 234 A - 1U
Matrix / Runout (runout stamped B): TRA 234 B - 2U

Tracklist:
A  -  Sun Symphonica .......................................................................................... 18:58
B1 - Call Of The Wild ........................................................................................... 12:48
B2 - Mice And Rats In The Loft ............................................................................. 8:19

Personnel:
Michael Bairstow – flute, clarinet, saxophonebass, organ
Derek Noy – guitar [acoustic/electric], trumpet, trombone, strings [zelda chord]vocals
Denis Conlan – drums, percussion

JAN DUKES DE GREY is one of the most underrated progressive bands of our time, and only released two albums in their short life span. JAN DUKES DE GREY formed in Leeds, UK in 1969 and were one of the very last prog rock bands to be signed to Decca's prog label. They originally started out as a duo.
Their first album, "Sorcerers" was a typical acid folk album, not particularly adventerous but showcased Derek Noy's and Michael Bairstow's multi-instrumental talents... 
But their greatest work was to come, with the addition of drummer Denis Conlan they recorded their masterpiece "Mice And Rats In The Loft" in 1971. Consisting of three lengthy, psych drenched tracks, It was a lot more free form than their last and had much more progressive leaning. Mindblowing use of a huge assortment of instruments, even utilizing an orchestra.
Sadly the album made little impact, and JAN DUKES DE GREY disbanded after its release. A brilliant recording that never recieved its proper praise. Highly recommended!



_1    This obscure gem of an album could well be considered as a folky version of Van Der Graaf Generator !! Jan Dukes De Grey are unique in every way - from the diverse instrumentation handled by only 3 musicians, the way they utilise strange chords, key changes and varying tempos, to the very personal style of vocal expression. Consisting of 3 lengthy pieces ; Side 1 is taken up by 'Sun Symphonica', a near 19 minute excursion through a variety of moods, textures and colour. Heavily dominated by acoustic instruments, its initial melody suggests a cheerful, sunny vibe, with heavy drums, and some great saxophone. Quickly comes a most unpredictable change of pace, almost psychotic - the drummer starts up a manic beat, and this is built upon by dischordant acoustic guitar and wild sax playing. The singer sounds very shakey in his delivery, but never actually tumbles over the edge. After this section, a lighter movement starts with an orchestral backing, this part is absolutely beautiful. The flute playing adds a quite peaceful and rustic feel to the music. This then merges into a darker part, the core sound of guitar/sax/drums and orchestral strings is embellished by hand percussion, with the singer getting a chance to let loose a bit. The last section features an awesome riff, with weird sounds, horn squawks and off-key harmonica insertions. A vibraphone tinkles away as the song comes to a stop. This is just a basic run-down of this really amazing piece of music actually, there's just so much going on in between. Side 2 track 1 - 'Call Of The Wild' (12.48) starts out very folky, with multi-part vocals, flute and strummed acoustic, quite reminiscent of the Incredible String Band, as is often cited. The tune moves along with stunning guitar play for some minutes, showing off the considerable skills of Derek Noy. He is always playing something different so it never ceases to amaze the listener. A full band sound is achieved when the drums, sax and bass (which is reputed to be a 'cello played like a bass') kick in with some energetic jamming, from which the song is brought to a close with a guitar/sax combination. Title-track 'Mice And Rats In The Loft' (8.19) is a relentless piece of music, driven along by acidic wah-wah guitar and an incessant beat. This one doesn't change much, but doesn't outstay its welcome, either. This is an album which will undoubtedly take a few listens to appreciate and follow, but it is quite a masterpiece within the whole Progressive Folk category - few albums I've heard within this sub-genre reach the inspired heights and creativity of this, special album.       (Review by Tom Ozric / Prog Reviewer)




_2    Wowh! I love this record, first because of his reputation, his style (acid folk), his artwork and it's magical appeal it had on me. Second, after three spins I realised I could never again rate an other album five stars before comparing it to this masterpiece of all masterpieces!
Jan Dukes's sound can be discribed as eclectic prog with lot's of folk and psychedelics. The overall vibe isn't comparable to Jethro Tull, for this is way more real folk. It's more acoustic, it has great use of many many instruments played just by three people. One can hear acoustic and electric guitars, violins, bass, drums, harmonica, organ, trumpet, flute, a lot's of percussion, clarinet and saxophone. Though the band consisted of just three members the album sounds like it's a complete orchestra. The acoustic guitars are played very very aggressively! The vocals of Derek Noy are beautiful and confronting, the lyrics are very dark. The rhythms are or and intelligent interpretation of the folk tradition or inspired by trippy rock music like the Can would play (up-tempo psycho beat). Such an awkward combination, but still a winning formula.
Sun Symphonica is a 19 minute epic that has it all. Some melodic intro-parts with optimistic vocals, some almost gothic-like folk parts (the bombastic, intensive sound is hard to discribe), trippy acid rhythms, orchestral string sections playing accents, vocals as if screaming from the highest mountain and a part with a lot of different solo's on different instruments. This is one my all-time favourite epics.
Call of the Wild continues the atmospheres of side one but this track has particularly aggressive acoustic guitar playing alongside gentle folk parts. The solo guitar parts are very powerful.
Mice and Rats in the Loft has a different vibe. The guitar are electric and the song is heavier and more trippy then the others. This is the true acid part of the album. Really psychedelic!
Conclusion. No need for a conclusion. Everyone should own this, not matter what genre's you prefer. Five stars. One of the best record ever recorded!
(Review by friso / Prog Reviewer)



If you find it, buy this album!

Sunday, May 13, 2018

BRAVE NEW WORLD – Impressions On Reading Aldous Huxley (LP-1972)




Label: Vertigo – 6360 606
Format: Vinyl, LP, Album / Country: Germany / Released: 1972
Style: Krautrock, Experimental, Free Improvisation, Prog Rock
Recorded in Studio Maschen on May 1st, 2nd, 3rd, 7th, 14th and June 9th, 11th.
Mixed on June 11th,24th and 26th.
Engineer [Sound Engineer] – Thomas Kukuck
Producer – John O'Brien-Docker
Published By – Team Musikverlag
Lacquer Cut At – Deutsche Grammophon Gesellschaft Pressing Plant
Pressed By – Deutsche Grammophon Gesellschaft Pressing Plant
Released in a laminated fold-out cover on a ''swirl'' Vertigo label.
Matrix / Runout (Side A runout, stamped): 10 AA6360606 1Y 320 B 1
Matrix / Runout (Side B runout, stamped): 10 AA6360606 2Y 320 B 1 1

A1 - Prologue  (J. O'Brien-Docker, R. Firchow) .......................................................... 1:01
A2 - Alpha, Beta, Gamma, Delta, Epsilon...Ford  (J. O'Brien-Docker) ....................... 7:38
A3 - Lenina  (H. Geller, J. O'Brien-Docker) ................................................................ 4:21
A4 - Soma  (H. Geller, J. O'Brien-Docker) .................................................................. 5:18
A5 - Malpais Corn Dance  (J. O'Brien-Docker) ........................................................... 3:24
B1 - The End  (J. O'Brien-Docker, R. Firchow) ......................................................... 17:42
B2 - Epilogue  (J. O'Brien-Docker, R. Firchow) .......................................................... 1:28

Arranged By – Herb Geller (track: A3), John O'Brien-Docker (tracks: A1, A2, A4 to B2)

Personnel:
John O'Brien-Docker   acoustic & electric guitars, organ, percussion, wind chimes, vocals
Herb Geller   flutes [C / bass], alto flute, cor Anglais, alto/soprano/tenor saxes, organ
Reinhart Firchow   recorders, flutes [bamboo, lotus, reed], ocarina , stylophone, percussion
Lucas Lindholm    bass, double bass [bass fiddle], organ, piano
Dicky Tarrach   drums, percussion
+
Esther Daniels (voice [spoken] on A3)

Reissued on vinyl on Austria Record Finder ‎– ARF 099 (Unofficial Release, 2009. / Limited to 500 copies), but ______Out Of Stock__

A short-lived Hamburg based project, featuring Irishman John O'Brien-Docker (formerly of City Preachers and Marcel) and jazzer Herb Geller, along with a few top local rock musicians. An unlikely "supergroup", and remarkably the music they created was unprecedented and original. On their LP, Brave New World blended styles, in such an unlikely manner, hinting at the music later created by the likes of Art Zoyd or Univers Zero. Virtually instrumental, blending medieval musics, electronics, jazz and rock in a dazzlingly complex fusion, a big step beyond early Between, with the Krautrock feel of Annexus Quam, Achim Reichel, Tomorrow's Gift, et al.





Exceptional psych-electronic rock experimentations by an one obscure 70's band from Germany. This album is said to be inspired by Aldous Huxley's famous, enchanting writings & mystical philosophy. It's clear that the entirety of the album is assured by a vast arsenal of weird incantations and deep hallucinogenic effects. The content is very colourful, luminous, eclectic and perfectly orchestrated. Nothing is linear or boring and the psych grooves work like magic. It's not easy to understand in one listening the complexity of this release. In some aspects it tends to be near to kraut-experimentations but without the sinister vibe, the ambiences provided are rather optimistic and enthusiastic. The prologue is based on dreamy like flute lines and tranced out organic drones. "Alpha Beta Gamma" is an epic, progressive spacey rock composition dominated by soft, floating sounding improvisations. "Lenina" is an enigmatic, fragile, celestial song for the flute, moody bass lines, a beautiful air. "Soma" is a really stoned, kraut, outer space experience, featuring a lot of intergalactic electronic sounds and a massive rocking energy! "The end" is the central piece here, a majestic "cosmic" rock essay with lot of guitars, sax, dreamy flutes and weird effects. Epilogue is a recitation. A mesmeric, highly inspired psychedelic album. A great classic, I dare say a masterpiece!

(Review by philippe / progarchives.com)



If you find it, buy this album!

Monday, May 7, 2018

TIMOTHY LEARY and ASH RA TEMPEL – Seven Up (Die Kosmischen Kuriere / Ohr – KK 58.001 / LP-1973)




Label: Die Kosmischen Kuriere/Ohr – KK 58.001 / (KK 58 001)
(Catalogue number variations are: KK 58.001 on record labels, KK 58001 on cover)
Format: Vinyl, LP, Album / Country: Germany / Released: 1973
Style: Krautrock, Psychedelic
Recorded: August 1972, at Sinus-Studio, Berne / Switzerland.
Design [Cover] – Peter Geitner
Painting [Cover Paintings] – Walter Wegmüller
Recorded By – Dieter Dierks
Recorded By [Sinus-studio] – Kurt Zimmermann
Directed By – Timothy Leary
Lyrics By – Brian Barritt, Timothy Leary
Music By – Ash Ra Tempel
Arranged By – Brian Barritt
Matrix / Runout (Side A runout, stamped): 0664 258 = 2 S 1 58 001 A ℗ 1973 320
Matrix / Runout (Side B runout, stamped): 0664 258 = 2 S 2 58 001 B ℗ 1973 320

SPACE .............................................................................................................. 16:03
        A.a - Downtown
        A.b - Power Drive
        A.c - Right Hand Lover
        A.d - Velvet Genes
TIME ................................................................................................................. 21:15
        B.a - Timeship
        B.b - Neuron
        B.c - SHe

Personnel:
Timothy Leary  /  voice
Manuel Göttsching  /  guitar, electronics
Hartmut Enke  /  bass, guitar, synthesizer [electronics]
Portia Nkomo  /  voice
Michael Duwe  /  voice, flute
Steve Schroyder  /  organ, [electronics] synthesizer
Dietmar Burmeister  /  drums
Tommy Engel  /  drums
Klaus D. Mueller  /  performer (no role specified / tambourine ?)
Dieter Dierks  /  synthesizer, other [radio downtown]
Brian Barritt, Liz Elliot, Bettina Hohls  /  voices

Seven Up is the third studio album by German krautrock band Ash Ra Tempel and their only album recorded in collaboration with American psychologist/drug advocate Timothy Leary. It was first released in 1973.
Seven Up was mainly recorded at the Sinus Studio in Bern, Switzerland in August 1972. Some tracks, like the vocals on "Downtown" by Portia Nkomo and Michael Duwe, were recorded later at Studio Dieter Dierks near Cologne, Germany.
Timothy Leary was living in exile in Switzerland at the time, having escaped from prison in San Luis Obispo, California in September 1970.
The name "Seven Up" was thought up by lyricist Brian Barritt, after the group were given a bottle of the lemonade drink 7 Up that had been spiked with LSD.


Last call for Ash Ra Tempel, in this form, during the 70s, is Seven Up, an album that rewards the creativity of the gesture with the quality and the sheer introspective madness that lies within the music and within its krautrock definitions, ones that seems rarely pushed to such extents in Ash Ra Tempel. The whole album is a very pretentious an eccentric thing, on one hand we have the incredible group of guests that Manuel Gottsching invited in order to compose and to create Seven Up's musicianship (yet somehow Klaus Schulze's again out of the picture); on another hand we have, once again, two compositions that by the looks seem serious business and important matter to be exposed, the long parts format of music being no doubt the definitory way for qualitative krautrock (I don't know any such piece that doesn't have at least a hint of magic, and that's pretty normal if you think about it, given the space and the time in which you can elaborate the descriptive musical act); and finally we have the essence of the music and the moment of listening to the repertoire, which in whatever shape the first impression will come, it'll reflect a well-done composition in a situation of high regards. To be as short and concise as I can in these first words addressed to the album: Seven Upis probably the second best reflection of Ash Ra Tempel, behind the debut smashing material, or at least in a position "conflict" with Join Inn, another valuable, yet not perfect "enough" creation. An album strikes the impression of good and accomplished, as I've already said, even from the beginning, an album that offers the picture of a voyage into the brand and into the dream of the brand.

Personally some problems and some moments make up a damage sketch within the strong solid kraut construction, still that can be very subjective, because of two things. One, as a personal Schulze fan, these Ash Ra Tempel albums without him seem to be a new different leaf of perspective and make up at least a place for details and issues; Two - related to the first one, but generalized - I am just at my first experiences with the Ash Ra Tempel albums, so I myself can be the one momentarily missing the specific details and issues. Plus, concerning every album, you never know how many listens are necessary to have a final and minute portrait of the album. Perhaps an instant one, perhaps two, perhaps ten.perhaps ultimately none. Yet to be honest and to bring up the presumable negative side of Seven Up as well, it seems to make out some incomplete assets along the way or inserted into the artistical script. It's not something like Schwingungen, who disappointed through misconceived act, it's a thing of short fragments and acute feelings or reactions. Anyway, that's hardly general material for a devalorization, so everything concludes with what I've said: good and important album.




Two cosmogonic entities brought up in a fashionable manner of music (which, maybe not here, maybe rarely encountered, but generally is for me a universal thing). Space and time find roots of expression within a krautrock prolific emblem and representation. The first piece receives an open, dynamics, sharp and direct pulse, made in a special way of chaotic maneuvers, driven into a cosmos furnal essence, making the move towards a rigorous familiarization that to an impression spark. It is something provocative, communicative, expressive to the meaning of a clear circle drawn in an even clearer context. Powerful, energic and vital substance is how Space is portrait. In contrast with that (some, needless to say, more than welcomed) comes the interpretation of Time, which is clustered in its space (or should I use special commas for the word space?), of a slumber refined profile, of a cosmic deluviant message that goes very charming. My favorite piece, but not the only criteria. It has a complexity given by the style and an outlined sphere of subtle emotions given by the approach. It reflects something mysterious, something quiet in its form, but dangerous in its power, going poetic, going voiled, going very decisive on a slow succumbed essence. With other words the time of Ash Ra Tempel here has gravity and has a pronounce dark feverish sensation. Great piece is all I can say in an end of vision. A touch not so common, even if the actual maneuver is a krautrock constant delicatessen.

So my review pretty much indicates an album that has said its word and has outlined its context more than enough. Everything looks good, all that's left is the receiver and the receiver's mood for an epic demonstration of force. Ash Ra Tempel ultimately look as one of krautrock's finest, though I can hardly be the critic to make such a generalization. And Seven Up is ready to prove in every single way. Not masterliness, not ground-shaking, but invigorating as quality and as the uniqueness fragment it shares.deep inside.

(Review by Ricochet / progarchives.com)



If you find it, buy this album!

Sunday, April 29, 2018

THE RESIDENTS – Mark Of The Mole (Ralph Records – RZ-8152 / LP-1981)




Label: Ralph Records – RZ-8152
Format: Vinyl, LP, Album / Country: US / Released: 1981
Style: Experimental
Recorded by Ralph Records/444 Grove Street/San Francisco, CA 94102
Manufactured By – Ralph Records
Copyright (c) – Cryptic Corporation
Published By – Pale Pachyderm Publishing
Mastered By – Leo Kulka / At – Sonic Arts
Pressed By – KM Records Inc. – KM-6911
Matrix / Runout (Runout A-side, etching): RZ 8152 A Re1
Matrix / Runout (Runout B-side, etching): RZ 8152 B Re1 KM-6911-B re1

A - Hole-Workers At The Mercies Of Nature ..................................................... 19:10
      1 - Voices Of The Air
    The Ultimate Disaster
      2 - Won't You Keep Us Working?
      3 - First Warning
      4 - Back To Normality?
      5 - The Sky Falls!
      6 - Why Are We Crying
      7 - The Tunnels Are Filling
      8 - It Never Stops
    Migration
      9 - March To The Sea
    10 - The Observer
    11 - Hole-Workers' New Hymn

B - Hole-Workers Vs Man And Machine ........................................................... 21:50
    Another Land
      1 - Rumors
      2 - Arrival
      3 - Deployment
      4 - Saturation
    The New Machine
      5 - Idea
      6 - Construction
      7 - Failure / Reconstruction
      8 - Success
    Final Confrontation
      9 - Driving The Moles Away
    10 - Don't Tread On Me
    11 - The Short War
    12 - Resolution?

Written-By, Performer – The Residents

This isn’t really an album you can just pick up and listen to a song at a time out of context without being really familiar with the album to begin with, but it is very interesting and worth listening to and paying attention.


For all my effluence about The Commercial Album, it was a bit of a flop. In response, The Residents decided they were going to do something “apocalyptic.” So, they created an album about an apocalypse, a disaster of biblical proportions. Inspired by tales of the Great Depression, they created the first album in what would become The Mole Trilogy: Mark of the Mole. A return to the storytelling, conceptual work of Not Available and Eskimo, Mark of the Mole tells the story of the Moles, a primitive people who toil in deep underground holes. One day, the sky falls and a massive storm floods their holes, forcing them to wander across a cruel, unforgiving land to the land of the lazy, decadent Chubs. There, the Moles are used as cheap labor until a Chub scientist comes up with a labor-saving machine. Out of work, the Chubs and the Moles end up breaking out in brutal, indecisive war.

Heady stuff. Deep stuff. We’re a long way from the twisted pop of Duck Stab! and Commercial Album. Mark of the Mole is a dark, oppressive album, of brutal, moody music. Unlike its antecedents Eskimo and “Six Things to a Cycle,” there’s not a whole lot of humor here. The cameo by Penn Jillette, of Penn & Teller fame, delivering a weather forecast at the start of the record might raise a chuckle just out of recognition. Instead, there’s a lot of lushly harsh synthesized tones that, much like Not Available provide as much to the story as the lyrics. There’s still some “strange voices,” but they’re restrained and applied to compelling—if anonymous—characters, and serve to drive the plot home. The music is hauntingly beautiful at time, such as the sad synthesized strings in the finale of “Another Land.”



Mark of the Mole is among the Residents' most successful, emotionally potent, gimmick-free offerings. By this time, the Residents had completely embraced keyboards/synthesizers as a key instrument, but instead of using them for goofy bloops and bleeps (as they did on the couple of albums prior to this), they use them to create a dark purple sky of doom and despair.

Here the Residents embark on their most ambitious project to date. A sprawling story about to races of people and the clash of cultures that happens when they are driven together through natural forces. The result is not only a near-perfect sonic depiction of the concept's subject matter (the plight of the Moles and their eventual migration to the land of the Chubs, where they are persecuted), but also a musically engaging affair that works on its own even without the concept. This album represents the beginnings of the Residents' experiments with electronics.      (Review by Richard J. Anderson)


Note:
Again, though, The Residents punctured the pretentiousness of the project on the Mole Show Tour, wherein Penn Jillette, as a narrator, explained the plot for what would likely be confused audiences (The Mole Show: Live in Holland). Said narration often consisted of joking commentary on the story and performance, but this was all part of the act. There’s enough audio/visual documentation of these shows to explain for the curious, but the album that it started the whole project, retains its power even in the context of The Residents later works in the vein, including the other album in the Mole Trilogy 'The Tunes Of Two Cities'…

See also:
http://www.gio80.com/mark-of-the-mole/



If you find it, buy this album!

THE RESIDENTS – The Tunes Of Two Cities (Ralph Rec. – RZ 8202 / LP-1982)




Label: Ralph Records – RZ 8202
Format: Vinyl, LP, Album, 1st Pressing / Country: US Released: 1982
Style: Abstract, Experimental, Ambient
Locations recordings: P. del Scrappio, Sound Genesis of San Francisco.
Manufactured By – Ralph Records
Phonographic Copyright (p) – Cryptic Corporation
Copyright (c) – Cryptic Corporation
Published By – Pale Pachyderm Publishing
Cover – Poorknow Graphics
Mastered By – LKIKS / At – Sonic Arts
Matrix / Runout (Etchings Side A): RZ 8202 A Re2 LKIKS ▭◯▭
Matrix / Runout (Etchings Side B): RZ 8202 B Re2 LKIKS ▭◯▭

A1 - Serenade For Missy ....................................................................................... 3:20
A2 - A Maze Of Jigsaws ........................................................................................ 2:51
A3 - Mousetrap ...................................................................................................... 3:25
A4 - God Of Darkness ........................................................................................... 3:10
A5 - Smack Your Lips (Clap Your Teeth) ............................................................... 3:52
A6 - Praise For The Curse .................................................................................... 2:50
B1 - The Secret Seed ............................................................................................ 2:48
B2 - Smokebeams ................................................................................................. 2:44
B3 - Mourning The Undead ................................................................................... 3:05
B4 - Song Of The Wild .......................................................................................... 3:22
B5 - The Evil Disposer ........................................................................................... 3:17
B6 - Happy Home (Excerpt From Act II Of "Innisfree") ......................................... 4:50

Written-By, Performer – The Residents
+
Snakefinger (Philip Charles Lithman) – guitar
Norman Salant – saxophone
Nessie Lessons – vocals (on track B6)

The Tunes of Two Cities is an album by The Residents, released in 1982. It is part two of the Mole Trilogy. Rather than forwarding the story of the battle between the Mole People and the Chubs, the record's concept is to display the differences between the two cultures through their music. The music of the Chubs is light cocktail jazz, while that of the Moles tends toward industrial hymns. A major feature of this album is that it was one of the first to use the E-mu Emulator, one of the earliest commercial digital samplers.

The Chub track "Mousetrap" bears a noticeable resemblance to Stan Kenton's "Eager Beaver." In one interview, band spokesman Homer Flynn acknowledged that the band listened to jazz big band artists including Kenton, as well as Charles Mingus and Sun Ra.



I like what The Residents do with their music in that they turn convention on its head and break through barriers and nobody can argue that they are an acquired taste. I wonder though what was in their minds when releasing this saga about the two races, the Chubs and The Moles. To reiterate for the uninitiated, the Chubs are the swinging jazz lovers that have the high life above ground and do what they want and have a blast not giving a toss about the hapless Moles who are 'working down below' and are determined to find some solace in the high life above. In Part 1 the Moles were forced out of their flooded tunnels to the surface and an uprising occurred where a war broke out and devastation resulted; a war of racial intolerance.
On this next part in the saga 'The Tunes of Two Cities' we have the inimitable Snakefinger which for me was a breath of fresh air as I always loved his part in the band as guitarist and vocalist. The Tunes are from the two races; the Moles are dark, deep resonating tunes, and the Chubs are jazz fusion atonalities. A nice idea that works better than the other albums in the saga. The album opens with instrumentals 'Serenade for Missy', jazzy dissonance, and 'A Maze of Jigsaws' just plain weirdness from the Moles side. 'Mousetrap' is a piano and synth competition. It has the quirky whimsical jazzy humour that the Residents are only capable of. I began to realise that this was an instrumental album primarily with just a few moments of la la las and that suits me fine.
On with the album, and we have 'God of Darkness' which is more tribal native music from the intrepid Moles clan. It is similar to a lot of what we hear on the first part of the trilogy, complete with chants and odd repeated noises. The saving grace of jazz atonality follows with 'Smack Your Lips (Clap Your Teeth)', from the Chubs race, that have more musical sense for my tastes. Snakefinger's guitar is a highlight as always, just a weird phased sound and there's some cool little synth lines and horns to add to the soundscape. The pieces representing The Moles are certainly as droll as those off of 'Mark of the Mole'. 'Praise for the Curse' is dark and dreary synth burblings with a drum beat, 'The Secret Seed' is chimes that twinkle and clank over a bass drum rhythm and is too long and monotonus. The swinging jazz of the Chubs is wonderful such as 'Smokebeams' with its cool jazz flavour, lots of horns, trumpets and jazz time sigs.
'Mourning the Undead' is a clattering machine noise that drones on like being in a factory reminding me of 'New Machine' from the first album in the trilogy. This is highly strange but compelling as one out of the box among these tracks. It would make a great song to play in a factory; Residents capture the monotonous atmosphere perfectly. 'Song of the Wild' is a sad little tune with some interesting effects on the synths. The sounds are high pitched and unsettling. 'The Evil Disposer' returns to the native sounds of Moles with a lot of percussion and doomy factory like synths. Home [Excerpt from Act II of Innisfree]' is a bass drum and improvised music on horn synths, and repeated noises... Very original and intriguing album.
Review by AtomicCrimsonRush

See also:
http://www.gio80.com/the-tunes-of-two-cities/



If you find it, buy this album!

Wednesday, April 18, 2018

FRANCIOLI / BOVARD – Musique (2LP-1984 / Plainisphare – PL 1267/11-12)




Label: Plainisphare – PL 1267/11-12
Format: 2 × Vinyl, LP, Album / Country: Switzerland / Released: 1984
Style: Contemporary Jazz, Free Improvisation
Recorded live, Lausanne July 21, 1984, Switzerland.
Photo  Couverture – Alain  Doneri
Photo  Interieure – Philippe Ungricht
Graphisme – Oliver Clerc
PRISE  DE  SON  RADIO  ''L''
Matrix / Runout (Runout Groove Side A): PL 1267/11-A
Matrix / Runout (Runout Groove Side B): PL 1267/11-B
Matrix / Runout (Runout Groove Side A): PL 1267/12-C
Matrix / Runout (Runout Groove Side B): PL 1267/12-D

A - "Musique'' .................................................................................................... 27:00
B - "Musique'' .................................................................................................... 19:20
C - "Musique'' .................................................................................................... 19:00
D - "Musique'' .................................................................................................... 11:40

Composed By – Jean-Francois Bovard, Léon Francioli

Personnel:
ANDRÉ  JAUME   soprano saxophone / tenor saxophone / clarinet / bass clarinet
DANIEL  BOURQUIN   soprano saxophone / alto saxophone / baritone saxophone
DANIEL  MARGOT   oboe / cornet [cornet anglais]  / soprano saxophone
DIDIER  HATT   trumpet / bugle / tuba
MARIO  ALBERTI   trumpets / bugle
ANDRE  BERTHOLET   trumpet / bugle
JEAN-FRANÇOIS  BOVARD   trombone
RUNO  ERICKSSON   bass trombone
WALTER  HEYNA   cornet
LÉON  FRANCIOLI   contrabass / piano
OLIVER  CLERC   drums / percussion
RAOUL  ESMERODE   xylophone / drums / percussion
JACQUES  DITISHEIM   vibraphone / timbales / percussion


Francioli-Bovard ‎– "Musique" / 2LP (Plainisphare ‎– PL 1267/11-12 ) Switzerland 1984
Original Swiss pressing / _________ Out Of Stock __ / never on a CD.




E  N  J  O  Y  !!!



If you find it, buy this album!

Friday, April 13, 2018

[CM 4] F. LINDEMANN / J.L. BARBIER / O. MAGNENAT / O. CLERC ‎– Live In Montreux 75 (Evasion Disques / LP-1975)




Label: Evasion Disques – EB 100.819
Series: Living Now – 5, Collective Music – CM 4
Format: Vinyl, LP, Album / Country: Switzerland / Printed in France / Released: 1975
Style: Contemporary Jazz, Free Improvisation
Recorded live at Montreux Jazz Festival / 15 July 1975 in Casino Montreux.
Engineer – John Temperley
Photography By – Georgyves
Layout – François Lindemann
Producer – Gaston Schaeffer
Liner Notes – Demètre Iokimidis
Matrix / Runout: Face1: EB 100 819 A
Matrix / Runout: Face2: EB 100 819 B

A1 - For John Tchicai   (J.L. Barbier) .............................................................. 12:07
A2 - 4.3.74   (F. Lindemann) ........................................................................... 11:34
B1 - Tranquility   (O. Magnenat) ....................................................................... 2:50
B2 - Queen   (J.L. Barbier) ............................................................................... 8:05
B3 - Thursday Suite   (F. Lindemann) .............................................................. 7:02

Personnel:
François Lindemann – piano
Jean-Luc Barbier – alto saxophone, flute
Olivier Magnenat – bass
Olivier Clerc – drums, percussion

Rare Evasion Records: F. Lindemann / J.L. Barbier / O. Magnenat / O. Clerc ‎– Live In Montreux 75 / – Imprimerie De Saint-Michel, Ambazac – Printed in France
Phonographic Copyright (p) – Evasion Disques / ___ Out Of Stock __ / never on a CD. 



The improvising jazzman is constantly questioning a delicate balance, the balance that must exist betvveen the expected and the unexpected, between vwhat the listener can foresee and what the listener can be surprised by. The whole history of' jazz, as beset by triteness on one of its ends, by pure arbitrariness on he other, could be viewed as the vicissitudes of that halance.
The will to free themselves from harmonic, melodic and rhythrinc boundaries which informs most present day young jazzmen brings back the above-mentionned balance problem. The members of CM4 have coped with it by means of the musical inteqrity shown by their work in this record. The structures and articulations of For John Tchicai, for instance, stand out clearly through the rhythmic fluctuations, the transformations and overlappings of melodic lines and the passages where improvisers are let free. There is a rhythmic pattern gradually gaining shape under the alto recitative: it brings forth the rhythmic figures that allow the piano's affirmation when it soloes. These figures, developed through the bass solo, precede the return of the alto, which ends the piece with a niew recitative. The symmetry between end and beginning as well as the repeated and modified rhythmic patterns act as a framework both for the musicians' improvisation and the listeners'attention. Similar, though adapted to the character of each piece, features are to be found throughout the music in the record.

The evident admiration the members of the group have for leading American musiciens such as McCoy Tyner, John Coltrane, Jackie Mc Lean, Richard Davis and Elvin Jones, has stimulated the expression of their own musical personalities, while strengthening the quartet's cohesion. For balance befween individual and collective expression is yet another constant feature in the history of jazz.

_ By Demètre Ioakimidis (transl. by Gimelfarb)



If you find it, buy this album!