All posts by Kanju

Brigitte Fontaine – S/T LP

Brigitte Fontaine

Brigitte Fontaine was a mesmeric mandarin in early 70’s European Avant-Garde (with a delectable French vivant), transmogrifying a massive pastiche of genres, themes & instrumentations. I don’t know too much about her background, but it seems her professional radix originates from the theatrics of French Jazz crooning of the 50’s/60’s, ball-rooms, bobs, oil-spill mascara, bohemian mischief n’ the like (sorry, it’s not an era or genre I am knowledgeable on). The earliest material I have of her is a 1967 collaboration LP with Jacques Higelin (whom Brigitte worked with frequently) & is generally more straight, albeit clearly very thespian, hyper blithesome & keen to frolic in boundary contesting terrain with blatant Avant leanings & appetite. Anyway, she went on to do lots of really exquisite, weird, supra-diverse, challenging & adventurous recordings in the early 70’s, all brilliant & firmly in the allo-Avant expanse. For me though, having wallowed in the lot for some time now, I have no qualms with nominating my favourite from her as this s/t LP from 1972, for me not just her best but also her most outré & eccentric of the lot.
This is a particularly wonderful record. French Avant-Garde from the sixties sung by a sultry brunette is going to struggle to fall flat, but this LP really scales to the loftiest echelon, not just for it’s superb content & remarkable versatility but the perfect crafting/mixing of the LP that has such a conclusive & satisfactory entirety, unfurling like the perfect diagesis from sequence to sequence.

Unfortunately my French is terrible, so I understand very little of the lyrics in this beautiful language. No matter, as it’s totally transfixing & beguiling, but from what I can gather love, sex, revolution & socio-political subjects provide the bulk of sentiment & lyrical content. Brigitte sings beautifully, not at all in one style, harnessing operatic, choir, nursery rhyme, spoken word, screaming, crying & many more mediums & modals.

Organ, Synthesizer, hand drums, brass & reeds, cello, guitar & additional male & female vocals accompany. Like the moods & melange of styles, the miscellany of musicians & instrumentation constantly changes, occasionally deserting entirely with nothing but Fontaine’s bare voice performing solitarily. A lot of the arrangements seem very conceptual, perhaps trying to encapsulate the songs theme? (I don’t know of the composition process). Many of the tracks also have very cool micro epilogues embedded, garnishing a baroque twist to the closing sequence with cinematic evocations. I really love this stuff, it’s just so polymerous & unpredictable & manages to edge it’s way into the most surreal situations etched in pure emotive oddity.

I won’t break down the entire track codex, & they work exceptionally well when played as one piece (or two, side’s A & B), I’m sure considerable craft & deliberation has gone into the ergonomic-enjoining, but for me some individual songs need highlighting. On side-A, “L’Auberge” a rueful, elegiac, choiresque, ecclesial spoof that despite it’s beauty has bizarreness that belongs in the house of freaks. It’s two cello’s (or cello & violin) plus organ along with Brigitte’s mournful, supressed-pomp basilica. “Vingt Secondes” a distinctly peculiar twenty second flute & duel female vocal codicil that closes Side-A also needs notation.
Side-B’s incepting piece Eros is a intense, dark & beautiful ballad accompanied only by intermittent & minimal acoustic guitar. The following track “Une Minute Cinquante-Cinq” that has Fontaine & fellow vocalist Julie Dassin singing rousingly over another recording of Fontaine weeping is also really quite amazing & both beautiful & unsettling.

Really, we have one seriously fulgurating LP here, & personally for me the best & most abstruse from Fontaine’s incredible 70’s output. There’s so much coalescing, so many strange & novel ideas, detail & methods all swaddled in this irresistible Avant-Garde premium. Really glorious stuff.

Fantastically, this album is still in print along with pretty much all of Brigitte’s early stuff which is all worth picking up.

Label: Saravah

Rekd: 1972

Adjust – Release The Sharks 12″ LP

Tamvred-tintorama (Low Res)_ed

Woo boy! Another seminal secretion of mercurial IDM cross-breeding & first class Electronic gallimaufry & permutation. After one of the most atrocious nadirs of egregious postal misconduct, in which ample Low-Res packages stuffed with the finest waxology were erroneously returned to sender, back & forth over the Atlantic at great expense, dejection & exasperation to both parties EVEN THOUGH THE FUCKING ADDRESS WAS CORRECT & TOTALLY LEGIBLE, obstinate obsessions & irrepressible tenacities found a substitute route & Release The Sharks finally made it to my operating table. It’s been over a decade since the profound, irresistible beat-driven electronic exuberance of the previous four track Your Bad Luck LP in all it’s miscellaneous glory crashed into my sound spectrum & hooked it’s pixelated quills into my brain nexus indelibly. I was both excited & concerned as to whether this new LP would parallel with it’s predecessor, certainly no easy objective. Personally, I can confirm RTS as a veritable knock-out in pretty much every sense. With a richly varied dynamic of trenchant IDM, Dub Step, Brekcore, Speedcore, hard-Techno, Industrial Hip Hop & heaps of insane bass/synth/electronic-modulations veering in many directions, coexisting, discommoding & splicing, Adjust once again assembles a detailed & unpredictable network of vigorous master class & hard slammers & digital-disjunction. The conspicuous novelty of frequently using more extreme digital materials such as Breakcore, Glitch, Speedcore & yet with the inclusion of such abrasive & kinetic forms Adjust seems in no eagerness to compete or qualify for any accredited status or conclusion as an “extreme” purveyor & is content to wield these mediums almost sparingly, purely to the productivity & enhancement of the music at hand. The composition, production & phonetics are all of considerable expertise! Really good shit from front to back, let’s hope it’s not going to take another effin’ decade before the next screening with this excellent project materializes (it will however be worth the wait either way).

Label: Low Res

Rekd: 2010

Recent bleurk from the No-Skool-Noyzcore/Gunk micro-niche – Bollock Swine/Chappa’ai-split pink cassette

Bollock Swine-afrocentric ungulate

5yv new jolts rippling with unfathomable destructive prepotency & stuffed to bursting with hysterical femininity n’ insatiable Gunk frenzy User-Hostility, painfully pushing the body way beyond it’s natural abilities & thresholds resulting in truly cataclysmic & totally & utterly unrivalled pink-pandemonium-punishment & acme-ambulance utmost urgency. Chappa’ai really smash, bash, tear, rend, bray, mangle, shatter, demolish, level & tear down with inveterate Anti-Listener Torikowashi Blast-Noyz Gunk. Released on Tetsubishi Gob-Stopper Tapes, with lovingly hand-made sleeves, in a green cassette case, on a “plucky” pink cassette with hand sprayed on-bodies & limited to 377 individually numbered copies.

Tetsubishi Gob-Stopper Tapes- lofiordierex@hotmail.com www.jigokuki.org/bollockswine

Final Exit – Spreading The (S)hits CD:

Final Exit-STS

Further disturbance from veteran Tokyo turbulence trisectioned by/with/on/amongst “classical” genres & quality musicianship slamming headlong into Noise-Blur, Gunk expertise unt splendido spastication & non-musical No-Skool-Noyzcore spasm-spate & involuntary convulsion, projectile perspirations & priapism (probably, poku-poku). Excellent recording clarity, six new studio recordings & six live cuts from a recent central European tour, on Y-Records Japan.
Ryohei/Y-Records noise.no.wakadaishou@gmail.com

Reforester-Sylvanic Sprawl Demo CDR:

Reforester-ssd

Lofi, berserk, unforgiving Torikowashi NoiseGrind venerating trees, forestry & non-urban existence. Fucking fast as a mad beast of myth, non-stop (literally) ultra single-foot blasting from super sinews with improvised Grind, Noise & Metal guitars zipping through the foliage alongside. The ultimate verdant speed blast attack. Released on Kaz Records, Slovakia & limited to just 56 hand numbered copies.
Rado/Kaz Recordsradokaz@yahoo.com

all this bleruk is also available through the Gobbledy Gunk E-Orchard, www.jigokuki.org/gobbledygunk

Sam Rivers – Contrasts LP

Sam Rivers-contrasts LP

Yet another superb album from the incredible Sam Rivers. This 1979 recording drafts the exceptional talents of Dave Holland on double-bass, Thurman Barker on drums & George Lewis on trombone serving seven sedulous, versatile & dynamic tracks encompassing cryptographic compositional pieces, roving free-form & Avant-Jazz.

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Roscoe Mitchell – The Flow Of Things

MI0000737166

Here’s an outstanding example of why Roscoe Mitchell represents such a distinctive & singular plenary of terminal sonic extremity, quite clearly unmatched by any other saxophonist past or present. I am not exactly sure when Roscoe’s pioneering “circular-breathing” specialization emerged, but it seems to have surfaced in the eighties, instigating with an already explicit mastery/quality that presumably was perfected “off-record” before being unleashed. This remarkable four track album seems to be determined to austerely affirm & assert this technique/phenomenon from his inexplicable expiations of receptor shattering overdrive & overwhelming obstreperational onslaught. Think of ten minute tracks in the form of one giant diatribe, dissertation in destabilization with terrific quite literally almost unimaginable intensity in overextended euphoria & efflux that neither abates or relents & somehow manages to expand, in an inexorable periphrast of ant-upping, self-usurping invention that defies belief. Continue reading Roscoe Mitchell – The Flow Of Things

Kazuko Shiraishi – Dedicated To The Late John Coltrane & Other Jazz Poems LP

Kazuko Shiraishi LP

Here’s a real esoteric erogenous oddity for die-hard crate-diggers & vault-robbers. Japanese poetess Kazuko Shiraishi delivers sensual, stern, spectral, ritualistic poetry/spoken-word/incant engirdled in richly atmospheric Avant-Garde & recherché Jazz derived oddness & ambience. Kazuko has convoked a wonderful collective with Abdul Wadud on cello, Buster Williams on bass, a percussionist by the name of Andrei Strobert & the elite virtuoso Sam Rivers on multiple reads & piano. This is undoubtedly an exceptionally novel record! Sam’s contribution is enough to swing it for me, but the erotocentric enigma Kazuko, cantillating like some kind of witch-seductress compels an allure of it’s own with the other musicians further fortifying with excellent contributions. I am uncertain as to whether this LP was recorded live or in pieces as a selection of independent over-dubs? All free-floating ambulation’s encircle Kazuko’s recitals, evidently with no premeditation or script.

Continue reading Kazuko Shiraishi – Dedicated To The Late John Coltrane & Other Jazz Poems LP

Dewey Redman – The Ear Of The Behearer LP

Dewey Redman-The Ear Of The Behearer

Dewey Redman is an often unmentioned & overlooked arch-potentate of manic fully-frenzied tempestuous Free-Jazz & challenging Avant-Garde experimentalism as well as an almost paradoxical much more traditional formula of Jazz & Blues. A set of Redman’s early records contain a considerable flurry of fierce & mucronate tracks/compositions which from my fairly extensive study of his back-catalogue are massively reduced in intensity & adventurism by the mid 70’s as his craft underwent significant amelioration & restraint.

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Dewey Redman – Coincide LP

Dewey Redman-Coincide

Here’s Dewey’s 1975 (recorded in 74) follow up LP to 73’s “The Ear Of The Behearer”, still fuliginous from the scorch radius. On Coincide the same line-up is conscripted (minus the extra Cello player & Percussionist from the previous outing) & also with the adjunct of Leroy Jenkins on violin. It ignites with Seeds And Deeds, an expeditious explosion of exhilaration & elation. As with before, this chaotic outbreak of erratic & acutely accelerated Off-Road euphoria is expelled with immense effusion from all accomplices. Lavish octopus-limbed percussion from Eddie Moore rains a “deconstructive” downpour of ceaseless precarious tumbling & invigoration as the base foundation for all manner of group/duo & solo summary exasperation from this fantastic gathering of sonic extremists. As usual with Dewey, it’s crammed to the rafters, rathe, delirious n’ deliciously cavalier & debauched with it’s excess of energy, flammability & flamboyance. The playing from all members is exquisite & the roof is thoroughly incinerated.

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Art Ensemble Of Chicago – Chi Congo LP

AEOC-Chi Congo LP

Here’s yet another fantastic display of stringent pyromania from the maverick Chicago collective & their first-class convulsive bedlam & eccentric Jazz/African/Avant-Garde medley. The album sounds to me like one track/take, that’s split over both sides of the LP but is noted as four separate pieces on the sleeve.

The A-side unfurls with lively African orientated percussion drenched clamour but proceeds into quite a subdued almost diffident juncture (certainly for the kind of inflammatory & exceedingly idiosyncratic ebullience that AEOC were so famed at compelling), messing more with sounds & atmospheric experimenting, seeming somewhat an instigation or warm-up.

Continue reading Art Ensemble Of Chicago – Chi Congo LP

Phlegm – Fatalles part 1

FF

Eradicate the evidence! Myth-manufacturing & selective documentation. Supress the remnants, concrete it over & set-up shop flogging the approved specimen where the temples once stood. It’s easier to look radical/unique/vanguard when all your peers/predecessors have been redacted, especially the formidable one’s. This is how the music industry generally likes to do it (these sub-human politician scoundrels too). So we go back to the truth, back to Choice, Bitches With Problems, Hoez With Attitude, Bo$$, Ghetto Girls, (Me-naj-ah-twa) & others for the true account/derivation of the hardcore female MC. How in the dastardly such originators have been expunged from the history files is just another shocking & unforgivingly shitty crime/further proof of the music Industries complete deficiency of commitment for the arts, quality or originality & the female MC’s that kicked it straight up the arse before Lil’ Kim got anywhere near a microphone. Nothing new there, but these warrior bitches & their almost total excision show the scale of unimaginable subterfuge/ignorance of industry failure & malpractice, underscoring an especially rank impression. Stunted off industry swill, historians/critics/writers/journalists seem to think/collectively assert that Lil Kim, who’s debut “Hard Core” surfaced in 1997 (that’s late on the scales), was the first female “hard-core” (explicitly raunchy, profane, hardcore/ganksta) Rap album/artist. Dunno’ where these deluded exegete’s get their deplorably erroneous shoddy-as-shit misinformation, but this is an out & out lie/irrefutable fallacy. To quickly clear something up, the lesser extreme female MC’s preceding Kim were artists such as Yo-Yo, Queen Latifah & MC Lyte. But none of the aforementioned were very vulgar, extreme, slab & hardcore. They were not exactly soft but there was a well-defined ceiling on their extremism, a respectability & a decorum benchmark that they would not exceed (which is respectable enough, I’m not criticising any of them for those artistic decisions just clarifying their intentional limits). The pre-Kim posse of female MC’s that completely fucked it up from a certified street perspective was Bitches With Problems, Choice, Hoez With Attitude, Bo$$, The Ghetto Girlz, The Conscious Daughters & (me-naj-ah-twa). Some have issued brilliant material, some cult classic, but due to the deplorable quality of journalism, industry conduct & disrespect for the craft/parentage have largely been excluded historically despite ground breaking contributions that will still knock a mothafukur straight into intensive-care. So lets set the bloody rekad str8 on these bitch-ass desk-job jerk-offs that don’t kno their arsehole from their mouth-piece…..

Just when yu thought it wuz sayf 2 come owt wit shabby as fuk gender stereotypes – Phlegm Fatales pt-2, full reviews of Choice-stick n move, The Ghetto Girlz-ain’t taking no shit, Hoez With Attitude- az much ass azz u want & Bo$$-born gangstaz on Bleg!

 

REVIEWS: BWP, Choice, HWA