In Playlist: Drab Majesty "The Demonstration" Drab Majesty "39 By Design" from the album "The Demonstration" Dais Records (DAIS090) Release date: January 20, 2017
- Nice The Cure'ish kind of stuff . . .
And 2 tracks from:
- releases February 24, 2017
Crazy times call for outrageous music, and few jazz ensembles are better
prepared to meet the surreality of this reality-TV-era than the antic
and epically creative Ed Palermo Big Band. The New Jersey saxophonist,
composer and arranger is best known for his celebrated performances
interpreting the ingenious compositions of Frank Zappa, an extensive
body of work documented on previous Cuneiform albums. . . .
Mesmeric. Amid a chiming, atmospheric mix of acoustic- and electric-guitar arpeggios as autumnal as the lyrics, Chapman's appealingly leathery, lived-in voice takes a backward glance at a long line of memories that are part of a "thread that can't be broken" running through all of our lives. Brilliantly and succinctly capturing the blend of world-weary toughness and emotional vulnerability that is crucial to the song, Chapman at one point sings, "You know I don't scare easy," before displaying a master's sense of timing by waiting a beat before adding the punchline, "but I do get scared."
After 75 years on the planet, and 50 spent putting his reflections to music, Chapman may have developed a thick skin, but the soul inside of it can still speak to the uncertainty that lives in all of us. Still, even in the midst of the dark night of the soul he conjures up here, Chapman remains defiant and unapologetic. For all his regrets and misgivings, he nevertheless declares, "Take me for what I am or not at all," fully owning the place on the planet he has come to occupy after all these years. By the time the cyclical barroom piano line in the tune's coda starts repeating, it feels as though the hazy, dreamlike reverie Chapman has been moving through is beginning to tumble over itself and spirit him off with its ragged momentum — either to dive more deeply into this dream, or to begin another one.
– Jim Allen, NPR Music's Songs We Love
4/5 stars (Album of the Month, Feb. 2017). Alongside the album’s end-of-days feel there is also a valedictory mood, the sense that, as with Blackstar and You Want it Darker, here is a man closer to the end than the beginning, haunted by memories and auguries, and communicating something of their uncanny twilight power.
– Andrew Male, MOJO
8/10 (Lead Review). 50 is a finely tuned piece that surveys the looming thunderclouds of mortality and the biblical gloom of the times, and —quietly, unshowily—transcends both… the downhill trudge of declining years reimagined as a stately victory parade. Vindication here we come.
– Jim Wirth, Uncut
Age has proved meaningless in the altogether radical output of Chapman’s career. On his first self-professed 'American Record' to date, Chapman is routinely unpredictable, combining re-imaginations of deep cuts from albums past alongside new compositions. 'Sometimes You Just Drive' finds Chapman boldly confronting the End of Days ... [sounding] renewed, further proving the transcendental power of his music.
– Aquarium Drunkard
A brilliant collaborator. “Falling from Grace” floats out on a gorgeous cloud of fingerpicking and lap steel… “The Prospector” gets a kind of Crazy Horse treatment from Gunn and his group, Chapman’s verses playing call and response with an equally long, gnarled Zuma-like lead, round and round for seven minutes that could be 17.
– Sam Davies, The Wire
A master guitarist and songwriter … The godfather of experimental rock guitar … Calls to mind the fabled intricacy of Pentangle heavy-hitters John Renbourn and Bert Jansch, the muscular authority of Jimmy Page, and the maverick edge of Roy Harper, without once compromising its own indisputably Chapman-esque character. Anyone who thinks Jim O’Rourke was the first to combine rock structures, world-weary vocals, American Primitive-tinged guitar instrumentals, and avant-garde noise interludes is in for a shock.
– MOJO
A world-class songwriter. Terrifically unpredictable … beyond any genre tag.
– Pitchfork
Acute emotional reporting in a gruff seaman-poet’s voice, supported by the quiet ingenious strength of his acoustic-guitar motifs.
– Rolling Stone
A master … a distinctive talent who stands comparisons to John Fahey.
– Uncut
The sound of a real songwriter who’s lived a real life and all that entails.
– Q
On Bandcamp & Spotify, hoping E Music will have it today
Producer: Christina Kubisch Sound Engineer: Ecki Güther "Remote Future Control Access is the third episode in a five-part collaboration, The Remote Series, curated by Anna Friz and Konrad Korabiewski for the artist collective and curatorial platform Skálar | Sound Art | Experimental Music.
As Skálar originates in the small town of Seyðisfjörður on the north
east coast of Iceland, remoteness describes the experience of existing
outside of the geographical and cultural centres of power, but also the
experience of distance, however minute or vast, in time or in space."
Just showed up on Internet Archive; 32 minutes of little instrumental vignettes; idk if it's really hype williams (Dean Blunt and Inga Copeland) or what but it sounds great to me. Anybody with any interest may want to jump on it though; the hype williams people tend to put stuff up and pull it down in a flash.
Part of my December mega bonus beats trawl. Giving it a first proper listen. A sort of jazz orchestra with somewhat rock-ish drumming. Definite Reich echos in some numbers. enjoyable
Part of my December mega bonus beats trawl. Giving it a first proper listen. A sort of jazz orchestra with somewhat rock-ish drumming. Definite Reich echos in some numbers. enjoyable
Comments
Produced by Andy Partridge from XTC
In Playlist: Drab Majesty "The Demonstration"
Drab Majesty "39 By Design" from the album "The Demonstration"
Dais Records (DAIS090)
Release date: January 20, 2017
- Nice The Cure'ish kind of stuff . . .
And 2 tracks from:
I like the cover
PRESS ACKNOWLEDGMENTS:
Mesmeric. Amid a chiming, atmospheric mix of acoustic- and electric-guitar arpeggios as autumnal as the lyrics, Chapman's appealingly leathery, lived-in voice takes a backward glance at a long line of memories that are part of a "thread that can't be broken" running through all of our lives. Brilliantly and succinctly capturing the blend of world-weary toughness and emotional vulnerability that is crucial to the song, Chapman at one point sings, "You know I don't scare easy," before displaying a master's sense of timing by waiting a beat before adding the punchline, "but I do get scared."
After 75 years on the planet, and 50 spent putting his reflections to music, Chapman may have developed a thick skin, but the soul inside of it can still speak to the uncertainty that lives in all of us. Still, even in the midst of the dark night of the soul he conjures up here, Chapman remains defiant and unapologetic. For all his regrets and misgivings, he nevertheless declares, "Take me for what I am or not at all," fully owning the place on the planet he has come to occupy after all these years. By the time the cyclical barroom piano line in the tune's coda starts repeating, it feels as though the hazy, dreamlike reverie Chapman has been moving through is beginning to tumble over itself and spirit him off with its ragged momentum — either to dive more deeply into this dream, or to begin another one.
– Jim Allen, NPR Music's Songs We Love
4/5 stars (Album of the Month, Feb. 2017). Alongside the album’s end-of-days feel there is also a valedictory mood, the sense that, as with Blackstar and You Want it Darker, here is a man closer to the end than the beginning, haunted by memories and auguries, and communicating something of their uncanny twilight power.
– Andrew Male, MOJO
8/10 (Lead Review). 50 is a finely tuned piece that surveys the looming thunderclouds of mortality and the biblical gloom of the times, and —quietly, unshowily—transcends both… the downhill trudge of declining years reimagined as a stately victory parade. Vindication here we come.
– Jim Wirth, Uncut
Age has proved meaningless in the altogether radical output of Chapman’s career. On his first self-professed 'American Record' to date, Chapman is routinely unpredictable, combining re-imaginations of deep cuts from albums past alongside new compositions. 'Sometimes You Just Drive' finds Chapman boldly confronting the End of Days ... [sounding] renewed, further proving the transcendental power of his music.
– Aquarium Drunkard
A brilliant collaborator. “Falling from Grace” floats out on a gorgeous cloud of fingerpicking and lap steel… “The Prospector” gets a kind of Crazy Horse treatment from Gunn and his group, Chapman’s verses playing call and response with an equally long, gnarled Zuma-like lead, round and round for seven minutes that could be 17.
– Sam Davies, The Wire
A master guitarist and songwriter … The godfather of experimental rock guitar … Calls to mind the fabled intricacy of Pentangle heavy-hitters John Renbourn and Bert Jansch, the muscular authority of Jimmy Page, and the maverick edge of Roy Harper, without once compromising its own indisputably Chapman-esque character. Anyone who thinks Jim O’Rourke was the first to combine rock structures, world-weary vocals, American Primitive-tinged guitar instrumentals, and avant-garde noise interludes is in for a shock.
– MOJO
A world-class songwriter. Terrifically unpredictable … beyond any genre tag.
– Pitchfork
Acute emotional reporting in a gruff seaman-poet’s voice, supported by the quiet ingenious strength of his acoustic-guitar motifs.
– Rolling Stone
A master … a distinctive talent who stands comparisons to John Fahey.
– Uncut
The sound of a real songwriter who’s lived a real life and all that entails.
– Q
On Bandcamp & Spotify, hoping E Music will have it today
The remote series III: Remote future control access
Sound Engineer: Ecki Güther
"Remote Future Control Access is the third episode in a five-part collaboration, The Remote Series, curated by Anna Friz and Konrad Korabiewski for the artist collective and curatorial platform Skálar | Sound Art | Experimental Music. As Skálar originates in the small town of Seyðisfjörður on the north east coast of Iceland, remoteness describes the experience of existing outside of the geographical and cultural centres of power, but also the experience of distance, however minute or vast, in time or in space."
https://archive.org/details/guccistreams2_201701
And Chalice:
https://archive.org/details/Chalice
Just showed up on Internet Archive; 32 minutes of little instrumental vignettes; idk if it's really hype williams (Dean Blunt and Inga Copeland) or what but it sounds great to me. Anybody with any interest may want to jump on it though; the hype williams people tend to put stuff up and pull it down in a flash.
Continuum
by Paul Jebanasam
See my Steeplechase post at the eMu messboard - This CD collects those two albums
Now back to Grateful Dead - 1977-05-07, Boston Gardens
New release.
@Brighternow, thanks for reading my list :-)
https://m.soundcloud.com/junoplus/juno-plus-podcast-140-powder
Now Taylor Ho Bynum - Enter the Plustet from Jonah's list. Nice! thanks!
Anoice - Into the Shadows
Butterflies and Graves by Birch and Meadow
-
released December 31, 2016
Still digesting the Bobo Yeye set. Check this one out, sort of a simmering blues
On to Disc 2...
From gp's list; also very nice!
Then serpentwithfeet- blisters
I have heard a music and it is delirious
- And Majestic . . .
Ambient collective Bing & Ruth sign to 4AD, announce No Home of the Mind
Petrels - Flailing Tomb
This is pretty amazing.