‘’Ariha is a combination of 3 of the most innovating figures of modern day trumpet playing with tuba virtuoso Carl Ludwig Hubsch. The practitioners here, three trumpeters, Axel Dörner, Franz Hautzinger, Franz Hautzinger, and Carl Ludwig Hübsch hoisting a tuba, practice a unique approach to their instruments. All four musicians set aside a traditional approach to playing, substituting breathe for notes, abandoning a mouthpiece, and applying amplification to microscopic sounds.
The quartet recorded this session in Beirut 2013, after a week's residency and performances. The four like-mind players open the disc with "Mar Mikhael in The Afternoon," the longest improvisation at 16-plus minutes. The fluttering of notes is accompanied by the snorting of unseen wild beasts and the coyote howls of brass. Their language, developed in the past 20 years or so, is a direct descendant from the European (as opposed to the American) systems and improvisers such as Derek Bailey, Eddie Prevost's AMM, and Paul Rutherford.
Stripped of the conventions of noted music, the growls and micro-notes would not be out of place in sci-fi cinema as the backdrop to the silence of an orbiting space station. The squiggles and on/off switches of sounds inhabit the ghosts in the machines of the imagination, but also the rumble and hum of the earth's inner core. "Hamra Drinks" buzzes with the low (really low) bass reverberation and the looping notes of trumpet that take on an organic biologic shape.
Each piece conjures a response be it a visual, an emotional, a fragrance, a flavor, or something tactile. Ahira Brass Quartet opens the listening experience to all five senses.’’ Mark Corroto in All About JazzOriginally released on CD by Beirut based Al Maslakh Recordings. Vinyl version mastered & cut by Rashad Becker.
Tracklisting: Side A: 1. Mar Mikhael in The Afternoon 2. Gemmayzeh Drinks
Side B: 3. Armenian Coffee 4. Hamra Drinks 5. The Last Supper in Sin el Fil
Originally released as a limited tape in 2015, O Morto returns with a re-issue of his immersive electronic tryptic piece dedicated to the Ba'Aka people and its spirits, now on remastered (green) vinyl edition.
‘’Albeit his music is now closer to a soundscape composition approach, O Morto (aka Mestre André) actually started as a free improv / noise project in 2012. However, after releasing his debut “Memento Mori”, O Morto slowly began to drift away from the harshest soundscapes to seek for a new direction.
He found it under the form of the polyphonic music played by Ba’Aka (a pygmy tribe that still lives in the Republic of Congo), and in a conceptualized image of Jengi - a forest spirit that feeds from the flesh of a sacrifice.
Having this exotic array of influences in mind, O Morto collected samples, field-recordings and electronic sounds that would eventually appear in the dense (and sometimes enigmatic) triptych piece “The forest, the people and the spirits”.
Originally composed for 8 digital tracks in the sonic research studio of SFU Burnaby (Canada), the record explores the possibilities of sound manipulation as a way to create rich, vivid and cinematic soundscapes. A noise maker by nature, André also plays in the excellent Älforjs and produces some of the most addictive beats as Notwan.
It’s easy to guess Acid Baby Jesus’ shtick just going on their name but to those who aren’t already in the know: don’t be fooled into thinking these are just another quasi-religious, LSD-loving psych-rock band - there’s a reason these Greek garage-rockers have been championed so highly in the European scene.
Acid Baby Jesus are less concerned with the spiritual and tripped-out realms that their name foreshadows than they are with pure hip-shaking, rock’n’roll hedonism. After a long three-year wait the Athens four-piece are back with their third album ‘Lilac Days’ – their first on Fuzz Club Records.
The LP sees ABJ at their best; their frenetic garage-rock distilling a hazy mix of 60s Western psychedelic pop, traditional Eastern folk and the scuzzy R'n'R sounds of The Stooges or Brian Jonestown Massacre.
Tracklisting: 1. Lilac Days 2. Faces of Janus 3. No Such Thing As Twice 4. Down The Ley Lines 5. Me & Panormita 6. Birth 7. Guide Us In 8. Vile Man 9. Love Has Left My House Today
Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the “deep, dark ocean” of her musical imagination on her Hyperdub debut.
On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony.
'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy.
There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.
Tracklisting: Side A: 1. Prologue ft Atiena, Jacob Samuel, ThisisDA, Eric Sings, Pure Water 2. Act One with Embaci + Jacob Samuel 3. Cry Theme A4. Tommy