domingo, 17 de julio de 2011

Calomito, Cane di Schiena (2011)


Calomito are a five piece band out of Italy with violin/viola, bass, guitar, drums and trombone filling out the sound. The bass and guitar players add synths on certain tracks and the bass player also adds trumpet on one track. There are some guest sax and vocals as well but this is almost 100% instrumental. The sound of the band itself is highly appealing, with a host of unusual instruments. This is a really phenomenal album full of diverse influences, but with a unified vision.

1. Bella Lee (3:34) 
2. Parliamone (5:43) 
3. Infraditi (7:36) 
4. Fungo (6:42) 
5 Cane Di Schiena (6:32) 
6. Pappa Irreale (2:27) 
7. Antenna (7:59) 
8. Klez (4:16) 
9. Max Dembo (8:47)

Tommaso Rolando: Acoustic bass (5,8,9), el bass, acoustic guitar (4), synth. (2-5, 7, 9), sampler (2,4), trumpet (9)
Filippo Cantarella: Violin, Viola (3-7, 9)
Marco Ravera: Electric Guitar, Acoustic Guitar (6), Synth. (3,9)
Nicola Magri: Drums
Cosimo Francavilla: Soprano Saxophone (2) 
Nando Magni: Trombone
Antonio Carletti: Vocals (7)

Calomito La Claque Genova, presentazione di "Cane di Schiena" nuovo disco dei genovesi Calomito. Marco Balostro

info |
http://www.myspace.com/calomito
http://www.progarchives.com/album.asp?id=32696
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viernes, 15 de julio de 2011

Elysian Fields, Last Night on Earth (2011)


Few bands have traveled such varied roads as the New York duo Elysian Fields. Jennifer Charles (vocals) and Oren Bloedow (guitar) came up in NYC's downtown art rock scene of the early 1990s, securing a record deal with Universal Records imprint Radioactive in 1995 that led to the release of their first EP and subsequent full length Bleed Your Cedar.

Jumping the majors for a one-off deal with Jet Set for Queen Of The Meadow, the band began touring heavily in Europe, developing a large, dedicated fanbase who continue to lionize the group today. They have taken the independent route since, releasing records on their own imprint Diluvian with 2004's Dreams That Breathe Your Name, 2006's Bum Raps And Love Taps and 2009's The Afterlife.

We are proud to partner with Diluvian in a co-release of Last Night On Earth. This is the first record Elysian Fields has released Stateside in 10 years, and with good reason. This is the one that breaks the mold, the one that ties up the loose ends and sees the duo bridging even more musical genres than before. The songwriting prowess that Charles and Bloedow have shown from the beginning is still there, as are the vocals that breathe right into your ear while you hang on every word. But there is something new in Last Night On Earth; an unguarded playfulness and a timeless rock feeling that gives these songs a flexing of the muscles that we've not heard from the band before.

We think it's a masterpiece, and we're not the only ones saying that.

1. “Sleepover” – 3:32
2. “Red Riding Hood” – 4:41
3. “Can’t Tell My Friends” – 3:56
4. “Sweet Condenser” – 4:14
5. “Chance2 – 4:48
6. “Johnny” – 3:57
7. “Church of the Holy Family”– 3:32
8. “Villain on the Run” – 4:24
9. “Chandeliers” – 4:04
10. “Old Old Wood” – 3:56
11. “Last Night on Earth” – 7:27

Jennifer Charles: Vocals, Bass [Farfisa Bass]
Oren Bloedow: Vocals, Guitar, Bass, Piano, Organ [Farfisa Organ]
Julia Kent: Cello  
James Genus: Double Bass
Matt Johnson: Drums
Katie Scheele: English Horn, Oboe
Aaron Heick: Flute, Bass Clarinet
Christof Knoche: Harmonica
Ed Pastorini, Kate Mattison: Harmony Vocals
Charlie Burnham: Mandolin 
Jeremy Mage: Mellotron, Effects [Sound Effects]
John Medeski: Organ [Hammond Organ]
Stuart Bogie: Tenor Saxophone 
Aaron Johnson: Trombone
Jordan MacLean: Trumpet


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jueves, 14 de julio de 2011

Les Rhinocéros, Les Rhinocéros (2011)


Hailing from the Washington, DC area, the young band Les Rhinocéros delivers a crazy world in sound, blending aspects of rock, world music, noise, ambient and jazz. The trio of teenagers was formed in 2008 while the players were still in high school, and has developed since then into an intense and wildly imaginative group that takes music to its extremes. Emotional, minimalistic, intense and grooving, this is music that goes beyond imagination to the edges of sanity. The group continues their sonic experiments by adding unusual instruments into the traditional rock band setting.

01. Intro/Whispering
02. Beeps and Boops
03. Up
04. Les Rhinocéros
05. Tuml
06. Moon
07. Scenic 1
08. Choo Choo! (4 On The Door)
09. I Too Once Bought A Bicycle
10. Scenic 2
11. Johnway
12. Mark It 8

Michael Coltun: Basses, Effects, Loops, Noise, Toys, Acoustic And Electric Guitars, Percussion, Vocals, Sampling, Keys 
David Coltun: Violin 
Kenneth Congmon: Saxophone 
Kevin Downing: Trombone 
Tom Klecker: Drums, Percussion 
Andrew Landau: Saxophone 
Joey Pappas: Double Bass 
Leo Svirsky: Piano 
Peter Tran: Electric Guitars, Effects, Loops, Noise, Vocals 


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John Zorn, Enigmata (2011)


Twelve bizarre compositional miniatures for the blazing duo of Marc Ribot and Trevor Dunn combining classical 12-tone lyricism with rock intensity and improvisational madness. Jumping from composition to improvisation so seamlessly that it is often impossible to tell what is what, this is some of the craziest music he has ever created. An amazing CD of instrumental madness: Captain Beefheart’s Magic Band meets Arnold Schoenberg!

01. Enigma One
02. Enigma Two
03. Enigma Three
04. Enigma Four
05. Enigma Five
06. Enigma Six
07. Enigma Seven
08. Enigma Eight
09. Enigma Nine
10. Enigma Ten
11. Enigma Eleven
12. Enigma Twelve

Trevor Dunn: Electric 5-string Bass 
Marc Ribot: Electric Guitar 

Marc Ribot Marc Ribot, at the bee-flat concert in "Turnhalle" Bern, 5. march 2006 © Marco Zanoni

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lunes, 11 de julio de 2011

Wadada Leo Smith's Organic, Heart's Reflections (2011)


“Organic’s music is a swirling roar, part fusion and part jazz rock orchestra, like a combination of Burnt Sugar and Frank Zappa’s Hot Rats Ensemble.” – The Wire, February 2010 cover story

"Organic’s music is powerfully electric and electronic in nature; fiery and interactive in character; contemporary, spiritual and politically conscious, its creative energy is heartfelt and connected with the human feeling." – Wadada Leo Smith

Although he made his reputation over decades and decades of work in the free jazz and improvised music realm and as a early member of Chicago's hugely influencial AACM (the Association for the Advancement of Creative Music), trumpeter Wadada Leo Smith has long been interested in larger ensembles and electric music as well. Heart’s Reflections is a bold double-disc set that features Wadada Leo Smith's Organic, a predominately electric, fourteen-piece group, a band most notable for a lineup marked by four guitarists. In addition to Smith, who plays both acoustic and electric trumpet, the extraordinary lineup on Heart’s Reflection includes: Brandon Ross, Michael Gregory, Lamar Smith, and Josh Gerowitz on guitar; Skuli Sverrisson and John Lindberg on bass; Angelica Sanchez on acoustic and electric piano; Stephanie Smith on violin; Casey Anderson on alto saxophone; Casey Butler on tenor saxophone; Mark Trayle and Charlie Burgin on laptops; and Pheeroan AkLaff on drums.

For a record by such a large group, at times the sound is surprisingly sparse and delicate - both qualities that have long marked Smith's work, while at other times, it sizzles and stomps! Though longtime listeners who haven't followed Wadada's work in the last decade might be surprised at times by the fierceness of Organic’s rhythm section, Heart’s Reflections is nonetheless marked by the trumpeter’s usual touchstones: long sustained notes, occasional clipped phrases, and a tough-to-define playfulness that infuses all of his work.

Coming across like the next evolutionary step after Miles Davis’ electric era, Heart’s Reflections is a vibrant set that harkens back to the blues influence of Smith’s Mississippi childhood, and looks forward to still-developing realms of noise and electronics. The album fuses a galaxy of influences into a natural and accessible form, offering an ideal entry point into Smith’s vast oeuvre. Heart’s Reflections should appeal to fans of groove-oriented jazz, as well as rock and electronics audiences with a taste for adventure. (cuneiform.com)

Disc 01
 01. Don Cherry's Electric Sonic Garden [For Don Cherry] 20:50
02. The Dhikr of Radiant Hearts, Pt. 1 2:32
03. The Dhikr of Radiant Hearts, Pt. 2 6:27
04. The Majestic Way 9:12
05. The Shaykh, as Far as Humaythira 7:29
06. Spiritual Wayfarers 6:10
07. Certainty 5:24
08. Ritual Purity and Love, Pt. 1 3:34
09. Ritual Purity and Love, Pt. 2 2:31

Disc 02
01. Silsila 5:34
02. The Well: From Bitter to Fresh Sweet Water, Pt. 1 6:12
03. The Well: From Bitter to Fresh Sweet Water, Pt. 2 5:02
04. Toni Morrison: The Black Hole (Sagittarius A)/Conscience and Epic Memor 10:35
05. Leroy Jenkins's Air Steps [For Leroy Jenkins] 22:28

Wadada Leo Smith: Trompeta, trompeta eléctrica
Michael Gregroy, Brandon Ross, Josh Gerowitz, Lamar Smith: Guitarra eléctrica
Pheeroan akLaff: Batería
John Lindberg: Contrabajo, contrabajo eléctrico
Skuli Sverrisson: Bajo eléctrico
Angelica Sanchez: Piano, piano eléctrico Wurlitzer
Stephanie Smith: Violín
Casey Butle: Saxo tenor
Mark Tryle, Charlie Burgin: Laptop


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domingo, 10 de julio de 2011

The Residents, Dolor Generar (2011)


The Residents are an experimental music and visual arts group largely shrouded in mystery and myth. The Residents began recording in 1969, although many of these recordings from their early years have still gone unreleased to this day. The earliest material from The Residents, traded among bootlegs, was recorded in 1971. The Residents’ first official release, Santa Dog, was released in 1972.Allmusic had this to say about the Residents: “Over the course of a recording career spanning several decades, the Residents remained a riddle of Sphinx-like proportions; cloaking their lives and music in a haze of willful obscurity, the band’s members never identified themselves by name, always appearing in public in disguise — usually tuxedos, top hats and giant eyeball masks — and refusing to grant media interviews. Drawing inspiration from the likes of fellow innovators including Harry Partch, Sun Ra, and Captain Beefheart & His Magic Band, the Residents channelled the breadth of American music into their idiosyncratic, satiric vision, their mercurial blend of electronics, distortion, avant-jazz, classical symphonies and gratingly nasal vocals reinterpreting everyone from John Philip Sousa to James Brown while simultaneously expanding the boundaries of theatrical performance and multimedia interaction.

01 - Black Scars
02 - Burning Madrone
03 - Mary Achi
04 - Memory of Transgression
05 - Rats Fight for Water
06 - Restrained in the Ward
07 - Carlos Buys a Round
08 - Dollhouse
09 - Last Rites for Billy Bago
10 - Blow Row
11 - The Red Powder
12 - Shoeless Thorn Game
13 - Temple of Dragan
14 - War Zone
15 - Hassled by Mamasan
16 - Drunk again in Van Horn, Texas
17 - Oil Jobber
18 - Una Noche Lost


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viernes, 8 de julio de 2011

Amina Alaoui, Arco Iris (2011)


Following her outstanding performance in collaborative work with Jon Balke and Jon Hassell on the “Siwan” recording of 2007/8, Moroccan-born singer Amina Alaoui presents her own border-transcending project. When Alaoui sings there is “no need to discuss the origins of fado, flamenco or Al Andalusi” for the music itself explores the common crucible of the styles, and Amina’s delivery makes the interconnections impossible to miss. She is superbly accompanied by her outstanding ensemble in which violin often echoes the voice, and oud, flamenco guitar and sparkling mandolin surround it. Guitarist José Luis Montón from Barcelona has a strong following amongst flamenco adherents worldwide. Mandolinist Eduardo Miranda was born in Brazil, has lived the last two decades in Portugal, and links choro and fado styles through a vocabulary influenced by jazz. Violinist Saïfallah Ben Abderrazak and oud player Sofiane Negra are from Tunisia. Idriss Agnel, Amina’s son, plays percussion and adds a shimmer of electric guitar. (ecmrecords.com)

1. Hado 
2. Búscate en mí 
3. Fado Al-Mu'tamid 
4. Flor de nieve 
5. Oh Andaluces 
6. Ya laylo layl 
7. Fado menor 
8. Búscate en mí, var. 
9. Moradía 
10. Las Morillas de Jaén 
11. Que faré 
12. Arco Iris

Amina Alaoui: Vocals, daf
Saïfallah Ben Abderrazak: Violin
Sofiane Negra: Oud
José Luis Montón: Flamenco guitar
Eduardo Miranda: Mandolin
Idriss Agnel: Percussion


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Man Man, Life Fantastic (2011)


As frontman Honus Honus explains. “Contextually, this is an album fueled by the end of relationships, the death of good friends, an absence of structure, drifting from place to place without a real home. It's funny because in the past I was able to take bad situations and turn them into something creative but this time around I just couldn't at all. I felt nothing, which was worse than being miserable and depressed. Sometimes I guess you have to stumble around in a fog for awhile until you find a way out, rediscover your heart, take comfort in knowing that the only thing you really have control over is how you choose to roll with the punches. In many ways, this is an album about carrying on."

Life Fantastic is the first Man Man album with a proper producer behind the boards. And not just any knob-twiddler, either. We’re talking Mike Mogis, the Bright Eyes member responsible for the widescreen backdrops of nearly every major Saddle Creek release. The record also features lush string arrangements by fellow Bright Eyes member Nate Walcott.

“The songs were fully-formed entities by the time we got to Mike’s studio,” says Kattner, “But he was there to say things like, ‘Okay, that’s a bit (too) much.’ He was able to help us carve the beauty out of the chaos we brought. It wasn’t whittling down the points; it was sharpening them so they’d puncture even deeper.”

The celebrated avant-garde rock outfit Man Man will release their brand new album entitled Life Fantastic this May 10 on Anti-Records. The album opener “Knuckle Down” is available for streaming today on Pitchfork.

1 Knuckle Down (3:07)
2 Piranhas Club ( 3:52)
3 Steak Knives (3:26)
4 Dark Arts (3:49)
5 Haute Tropique (3:51)
6 Shameless (6:45)
7 Spooky Jookie (4:20)
8 Eel Bros (0:50)
9 Bangkok Necktie (2:51)
10 Life Fantastic (4:43)
11 Oh, La Brea (4:48)

Honus Honus: Piano, vocals, keyboards, percussion
Pow Pow: Drums, percussion
Turkey Moth: Synth, organ, vocals
Chang Wang: Alto sax, bari sax, flute, melodica, percussion, vocals
Jefferson: Guitar, vocals


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Erik Friedlander, Bonebridge (2011)


In 1971 Erik and his family visited the Galax Fiddlers Festival in Galax, Virginia. The Friedlander family was camping out with hundreds of bluegrass fans and Erik would walk around the festival grounds listening to the numerous pick-up bands that had impromptu sessions. Trucks would roll up, doors would open, and groups would come together. Do you pick? people would ask each other. If the answer was yes a band would have its start. One staple of the bluegrass sound is the lap-steel guitar and Erik, then a 11-year old cello player, quickly became a fan. Men with their guitars turned face up and hitched at their waists, pressed down on the neck of the guitar with a silver slide-- the bending tones left a lasting impression: The sound is so expressive and I think is in some ways similar to the cello being bowed -- both instruments are legato and singing. It hit me like a flash when I was contemplating my next project why not put the my cello together with slide?! After making this connection, everything fell into place and the music started writing itself. Produced by Erik Friedlander Recorded at Excello by Scott Solter Mixed at Baucom Road by Scott Solter Mastered by Steve Berson at Total Sonic Media All Music by Erik Friedlander.

01.Low Country Cupola
02.Beaufain Street
03.Transpontine
04.The Reverend
05.Caribou Narrows3
06.Tabatha
07.Hanky Panky
08.Bridge to Nowhere
09.Down at Bonebridge

Erik Friedlander: Cello
Doug Wamble: Guitar
Trevor Dunn: Bass
Mike Sarin: Drums


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sábado, 2 de julio de 2011

Bohren & der Club of Gore, Beileid (2011)


Bohren is German for “drilling,” and their whole modus operandi is digging deep within music to find brooding moods and melancholy. Doom and jazz may sound like polar opposites to most ears, but their excellent releases Dolores and Black Earthhave put them on the map amongst many music circles, ranging from metalheads, stoner rockers, and even modern composers.Beileid is their first release in three years, and it’s a mixed bag of new directions and reminiscing on old glory.

Bohren have a knack for creating a mixture between lounge jazz/elevator music and creepy brooding atmosphere. On one hand, you’d play this for friends and they’d expect a crooner like Barry Manilow to make an appearance. On the other, they may start to feel a little uneasy and ask to turn up the lights. This is the exact duplicity that the ensemble thrives on. You’ll have funeral dirges with saxophones and horns, and easy listening passages transformed by what you can swear is a Black Sabbath riff transformed into glacial-speed classical music.

If you haven’t heard them before, nothing I can tell you can properly describe their sound. It’s one that you have to experience for yourselves. However, they changed pace a little on Beileid, which can be a good or bad thing for long-time listeners. There are certainly more kitschy leads to be found here, and their cover of Warlock’s “Catch My Heart” is certainly interesting, withIpecac label-owner and vocalist extraordinaire Mike Patton (Faith No More, Fantomas, Dillinger Escape Plan and many others) taking a brand new turn on the old metal ballad.

And this is where Bohren really misses their mark. With the amazingly dark and brooding moods on Dolores and Black Earth, if you’ve come to expect more rainy day music, you’ll have significantly less here. It’s still dark and moody, but somehow, their songwriting has gone more in the direction of being novelty. They had carved out an interesting niche for themselves, and it’s hard to tell if this three song EP was more of an experiment or the direction they are heading in. At times when listening to “Catch My Heart,” you may take a step back and laugh. Patton has some of the coolest pipes ever, and at times, you can feel the despair that he’s attempting to portray on the cover. And in the next, you’re wondering if he’s trying to pull his best Pavarottior Lionel Richie. Because of his flamboyant style, he goes back and forth between several styles, and some of them are more comical than in-line with the mood.

It hurts my my heart to snub Patton and Bohren, because I really want to like the track. The original is extremely different, butWarlock vocalist Doro Pesch had a certain methodology to her flipping between singing and screaming and crying out. A lot of that is lost in translation here and it’s a shame, because this should’ve been the centerpiece of the EP that really created new fans. The music is absolutely fantastic, and I can’t help but feel that Patton’s thumbprint on it took it down a few notches instead of up.

Luckily, the band does make up for the missteps of the first two tracks with the eponymous track, “Beileid.” While the first instrumental track sounds like a cheesy film noire B-movie and the second cut with Patton just fumbles over itself, “Beileid” is the good old Bohren that long-time fans will remember and appreciate. It’s like the darkest depths of Morphine, and then some. Imagine yourself on the rainiest day of the year, with the skies black as ash. Sewers are flooding and backing up, and there isn’t a soul outside. All you have left to yourself is your introspection and sorrow. This is what Bohren & der Club of Gore epitomizes and it’s such a perfect track to finish, with bells and the Earth-esque percussion: molasses-paced, heavy, and served cold.

This 35 minute entourage does have a lot of ups-and-downs, but if you can extract the raw power of the music of two-thirds of this album, you’ll see why this band has such a good future ahead of it. Or shall we say, a bleak one?

Overall, it’s worth a listen for long-time fans, but newbies should go back through their previous albums and find the real substance. If you like your jazz to sound like SunnO)))…well, sans the distorted guitars, but still heavy in other ways and just as dark, this is your band. (http://blowthescene.com/reviews/bohren-der-club-of-gore-beileid-review.html)

1. Zombies Never Die (Blues) 7:31 
2. Catch My Heart 13:17 
(Written by Warlock, Vocals by Mike Patton)
3. Beileid 14:22


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