Acid Mothers Temple & the Melting Paraiso U.F.O. – In C

Acid Mothers Temple & The Melting Paraiso U.F.O. – In C (2001)

Acid Mothers Temple’s In C is not what I’d call a cover or version per se of Terry Riley’s infamous original. Rather it is more of a tribute. Here, AMT has captured the essence of Riley’s work in one of their most tumultuous and raucous noise assaults yet. In homage to Riley, each of the compositions on In C open with repetitive and dense pulsations and melodies before a wall of hypnotic, whirling psychedelia hits and takes helm of the track. Be advised, this is not for the faint hearted but is rather for those looking to endure three invigorating injections of noisy euphoric mindfucking jams of great Japanese rock music.

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Angelite & Huun-Huur-Tu – Fly, Fly My Sadness

Angelite & Huun-Huur-Tu – Fly, Fly My Sadness (1996)

Tuvan Throat Singing is the most obscure genre I’ve ever came across. From some forgotten Balkan state come choir Huun-Huur-Tu and Bulgarian folkers Angelite whose culture-clash between the former’s melancholic drones and the latter’s experimental folk art intertwine and provide an interesting and at first challenging listening experience but soon becomes quite beautiful after repeated listens. The ideal behind this rare find is to capture emotion through complex vocal drones yet simultaneously layer this with overtones of ringing choral harmonies to evoke solemnity and ethereality as you lose yourself in these magical meandering vocal compositions. This album is highly recommended for the adventurous listener or someone wanting to hear something that they’ve most probably never heard the likes of before.

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Natalie Rose LaBrecht – Warraw

Natalie Rose LaBrecht – Warraw (2003)

“Psychomancy. My limbs are numb. Bits of knowledge
appear before me as iridescent creatures glowing
in a translucency – a translucent sea. Psychomancy. Air that
we breathe. Bubbles float down. Surreal sounds.” ~ Natalie LeBrecht’s Warraw: Track 1

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Hash Jar Tempo – Well Oiled

Hash Jar Tempo – Well Oiled (1997)

Hash Jar Tempo is an experimental collaborative effort between psycho-delic quintet Bardo Pond and strings expert Roy Montgomery who produce hallucinogenic post-rock music and Well Oiled is their somewhat acclaimed drug-fueled improvisation sessions. These jams are driven by the extroverted and expansive sonic capabilities of a finely-tuned guitar (as curated by Roy Montgomery in his solo works) and glaze and weave in circles until the listener is lost and baffled in this revolution of strummed sounds, so much so that the music almost acts as a drug itself in terms of sitting perplexed and rapt in this labyrinth of foreign notes and noises. Well Oiled is collection of entrancing recordings that will leave you inspired and bemused.

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Manfred Schoof – European Echoes (1969)

Manfred Schoof – European Echoes (1969)

I personally find the title of this record a little deceiving. I correlate the term ‘echoes’ with quiescent nature or a halcyon rural area where there are huge expanses of land to verbally bounce off a ‘hello’ where it will reverberate and echo. I think this misguided vision of serene jazz added the edge to the record because in all blatant honesty, this is not a tranquil record. This was not constructed for a walk in the park. In fact, rather this is as ‘free’ as free jazz gets where thunderous, apocalyptic percussion fuses with frantic horns and staccatos of nois contracting to and fro, in a combative relationship that traverse the heights and depths of the musical scale. I was stimulated by this, a totally unexpected venture into the inharmonious corners of avant-garde improvisation, where asperous cacophony and percussive calamity stretch the boundaries of free jazz. Indeed, European Echoes proves to be a consistently enthrilling music encounter that is essential for even the most reluctant jazz fan.

 

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Emeralds – Allegory of Allergies

Emeralds – Allegory of Allergies (2007)

Emeralds are an Ohio drone trio who blend elements of Kosmiche music, luscious electronic progressions and synthesized textures and this, 2007’s Allegory of Allergies, is in my opinion their finest work. Drone music originated from experimental rock music in the 1960s with artists like The Velvet Underground as well as improvisation and minimalist artists such as La Monte Young and Taj Mahal Travellers. Modern drone music is almost habitually dark and dismal, designed to depress in these protracted yet intense drones that unite the serenity and peacefulness of ambient soundscapes with the gloomy buzzing of noise metal. But Allegory of Allergies is a little different as I find it induces an enlighteningly sanguine state in my mind; the sonic whirs and occassional piano chords relax and unravel ones’ mind.

There is much to love about Allegory of Allergies – the arragement of drones in itself is not elaborate yet ostensibly taps into the conscience of the listener in a cleansing and purifying slipstream of ambience and sound. The instrumentation, on the other hand, is detailed and embracing, so much so that every time you insert Allegory of Allergies into your cassette deck, you perceive and acquire something new and hollowingly beautiful, from the placid guitar chimes to electronic pulsations and undertones that throb and palpitate uncontrollably.

But with this instrumentation comes an obstacle. It should be understood before listening that Allegory of Allergies is not an easy journey. Firstly, in total, it is almost two hours in length and although this may stretch longer than your typical Van Morrison record, I can’t say it is any less of a rewarding experience. Secondly, Emerald’s drones don’t deviate widely throughout their usually quite long compositions, with one monotonous drone bridging between twelve to nineteen minutes in several occassions throughout the record. But otherwise, we have a drone masterpiece which hacks into the emotions of the listener and presents itself like a series of dreams and revelations. Everything here is perfectly placed. A grand venture into vast soundscapes await.

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Eric Dolphy – Out to Lunch!

Eric Dolphy – Out to Lunch! (1964)

Out to Lunch’s sleeve features a clock pressed behind a pane of glass, with seven arms that direct all in opposing bearings. Each of the arms are of different lenghts too. This surreal and enigmatic image confuses me to this day as to what it represents in the music. But I then realised that confusion and inexplicity plays a large part of this record. What I’m talking about can be heard in ‘Something Sweet, Something Tender’, which emerges with Dolphy’s erratic an deep reedwork with the clarinet which furtively meanders whimsically around Richard Davis’ fickle bass. Then Davis interludes before Dolphy capriciously directs the piece into a collaborative moody ballad of tender drumming and sweet horn structures, as the title entails.

In contrast to this, the succesive track ‘Gazzelloni’ delves into the traditional characteristics and conventions of a bop composition with Dolphy on flute which, although a great elusion to the later alto sax arrangements, does not operate smoothly to the avant-garde theme thus far. This is an example of the numerous instances of surprise or immediate change in Out to Lunch that makes it such a cherished and diverse work. The astonishing percussion is another strongpoint on Out to Lunch, particularly in ‘Hat and Beard’ and the title track. ‘Hat and Beard’, a track named after the greatly influential Thelonious Monk, breaks midway to reveal Tony William’s and Bobby Hutcherson’s brave percussive approach with multiple drum tempos and experimentations which continue to speed up and overthrow the listener before gradually returning to the original clarinet-driven piece.

Throughout the whole of the title track, ‘Out to Lunch’, the percussion is constantly adapting to Dolphy’s everchanging rhythmics which is remarkable and retains originality and a stimulated beat until approximately halfway where Dolphy recedes as the piece progresses primarily on bass movements, evasive piano jingles and the occassional slam from the snare drum. It’s at about the ten minute mark where Dolphy unexpected intercepts the bass ballad with saxophone improvisation. After the cymbal settles to mark the end of the title track, we move on to the final composition ‘Straight Up and Down’ which consists of drunkenly shifting and weaving saxophones, tense percussion which ricochets off Davis’ incessant and tireless bassline to provide a comforting conclusion to one of my most favourite jazz records.

In fact, jazz aside, Out to Lunch is one of my most favourite records in general. From the opening slice of snare to the dying chime of piano, Dolphy and the guys showcase their improvisational talent that has resulted in what is internationally acclaimed to be one of the most essential free jazz records out there, if not the most essential. The qualities that I’ve tried explaining above make Out to Lunch a compelling listen that would whet the apetite of a listener of any taste.

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Francisco Guerrero – Complete Orchestral Works (Orquesta Sinfónica de Galicia/José Ramón Encinar)

Francisco Guerrero – Complete Orchestral Works (Orquesta Sinfónica de Galicia/José Ramón Encinar) (2003)

The majority of western people in general have this erroneous conjecture towards classical music that it is orthodox and conservative in terms of time signatures, instrumentation and production – that it is old-fashioned, obsolete and even conventionally boring. Obviously, what they consider classical is the traditional classical music of Beethoven, Liszt, Chopin and the listless others whos music is essentially experimental, it is just we’ve all become very familiar with such compositions through the media that we do not associate such music with terms like experimental because experimentation in music comes with a sense of inaccessibility and obscurity. But really, modern classical is a great deal more experimental, inaccessible and obscure than most music and if you don’t follow coherently, listen to this.

Francisco Guerrero is what I’d consider an experimental composer and The Complete Orchestral Works reflect it. Following the influential footsteps of Iannis Xenakis, he applies his studies of the principles of fractal geometry and mathematics to create the element of indeterminacy and aleatorics into his compositions which is what makes them all the more interesting. An example of this would be the opening piece, Coma Berenices, an ambitious 14 minute opus that gradually builds up as layers of atonal strings overlap and eventually construct into a combatively stochastic confliction between frantic strikes of voilin and bass chords that invite the listener to experience the surreal life that Guerrero does.

Then thunderous percussion envelops the listener in an onslaught of blows that unexpectedly crash, hammer and consumes the piece chaotically. Barrages of percussive arrangements continue until Guerrero’s stylistic string glissandi conclude what is a grand composition. Another instance of Guerrero’s characteristic element of the unknown is Ariadana, the shortest piece and the least for the faint-hearted. Spectral and intense strings play off the elongated whine of the voilin bow which creates an abstract suspense that coldly investigates the depths of the unexplored yet innate noises which connect the music to the natural phenomena that is sound. Even if the creative process of this music sounds questionable, this should attract attention from listeners of any genre as a fascinating and educational experience in the dynamics of some of the most experimental classical music.

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Big Blood & the Bleedin’ Hearts – Big Blood & the Bleedin’ Hearts

Big Blood & the Bleedin’ Hearts – Big Blood & the Bleedin’ Hearts (2008)

Big Blood are a compelling duo primarily comprised of Caleb Mulkerin and Colleen Kinsella but, in this case backed up with the aid of Tom Kovacevic, Micah Blue Smaldone and Kelly Nesbitt. Big Blood are a dainty group of talented folkers who grasp a wide variety of genres that reflect in the music – from the spiritual cries and traditional folk of the Trees Community to the exploration and experimentation of cultured pop music derived from the Sun City Girls. Evidence of these influences can be heard exclusively with their unearthly harmomies and gorgeous vocals that are employed as the music’s centerpiece.

Big Blood and the Bleedin’ Hearts are one of Big Blood’s few studio albums as the band’s recordings are frequently concert-orientated. The album features eleven short tracks, each of which although amorous and comforting on the crust have a core that transverses the limits as to which Big Blood can push the proverbial boundaries of production, melodies and instrumentation. Dissimilar to their discarnate avant-folk peers, Big Blood’s vaporous hymns and nimble banjo jams conform to the characteristics of pop music. Sure, theoretically this is folk but the essence of Big Blood and the Bleedin’ Hearts is its often nostalgia-inducing pop sensibilities, reminiscent from the psychedelic gospel whines.

Principally, the underlying feature of Big Blood is the vocals – it is as if every sound revolves and adapts to Colleen’s voice – every overlayed strum and harmonica lamentation reverberates and circumducts around those vocal stabs, assuaging and engaging the listener by overwhelming them in glorious arrangements. They bounce off eachother co-operatively and mellitlously and uniquely and this is what makes Big Blood’s music so gratifying. Big Blood will not be welcome to everybody’s ears but I hope as you listen, you too adopt a similar sentimentality and understanding of how curiously anomalous and fascinating this band truly is.

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Natural Snow Buildings – The Centauri Agent

Natural Snow Buildings –  The Centauri Agent (2010)

Well here we are again, the critically-ignored French cult band Natural Snow Buildings are back with their 18th over-100 minutes long record (which they are distributed via the internet for free), only just over ten years since they first recorded a note. Last year, Natural Snow Buildings caught bloggers attention with two of their three albums, the first was Daughter of Darkness, an almost six-hour long monolith of drone, improvised folk and whispers, released exclusively and only on cassette and digital. The second was Shadow Kingdom that, by the end of 2009, was positioned second highest on rateyourmusic’s 2009 list, just behind Animal Collective’s masterful Merriweather Post Pavillion. It featured 160 minutes of strecthed drones and more folk psychedelia. So in total, Natural Snow Buldings have released over eleven hours of music in 2009 alone. That’s a lot.

Paleo, an American indie-folk band, released the Song Diary, which is possibly the longest release in the history books, containing over seventeen hours. Paleo are an example of another band that records and releases quite a hefty amount. But one thing that Paleo and Natural Snow Buildings don’t have in common is consistency. And this is where the Centauri Agent comes in. It seems that Natural Snow Buildings does not let a bad recording slip through their teeth, even on this album which I’ll remind you is free of charge. The Centauri Agent introduces itself to us with the 41-minute long track, ‘Our Man from Centauri’, which typically sustains one chiming and resonant chord which thankfully emits harmonic sways of ambience and orchestral string variations throughout that feels like an induction to a lucid dream.

After a similarly ambient ‘The Accidental Remote Viewer’, we reach ‘The Psychic Circle’ where solemn shakers and moaning organs and acoustic noodling intertwine and cooperate to produce a sombre melody where the first real traces of vocalisation are heard clearly through the dreamy lips of Solange Gularte. ‘The Storm of Resurrection’ opens with experimental guitarplay that envelop and swallow the listener within, as the title reads, a storm. ‘Solar Flares’ is the most prominently folk-orientated track which is an appropriately short ballad of acoustics, inspiring harmonies and minimal drone. ‘Memories Found in a Bill’ is The Centauri Agent’s respective closer and is composed of overlapping cries, xylophones and a buzzing melodic jam that aptly finishes off what is my favourite release of 2010 so far.  

There is no real standout on The Centauri Agent. As aforementioned, every track is consistent and equally as fantastic as the next. The Centauri Agent has such a raw, beautiful and innate qualities that out of the hundeds of bands that attempt in creating intrinsic, natural atmospheres, Natural Snow Buildings are one of the few to succeed. There is such genuinity with The Centauri Agent from the humbling guitar peal that rings and echoes therapeutically through your ears to the celestial and delicate hums from voilas that enhance the music’s magical and magnificent atmospheres. So indeed, Natural Snow Buildings have done it again.

 

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