& thus, we arrive at Madame Fontaine’s highly heralded second LP as the unofficial leading artist from 69, a collaboration with a juvenile Art Ensemble Of Chicago (& Leo Smith) – Comme Á La Radio. This LP generally seems to be perceived as a de-facto Brigitte Fontaine album, where the Art Ensemble Of Chicago who at that time were based in France & were kicking up quite a shit-storm were hired to perform on about half the tracks on this LP. The liner notes on the LP (going by my trashed n’ tatty original) & it’s title are pleasantly confusing & ambiguous – the cover & spine suggest almost a concept album, simply iterating the album’s title & no particular artist. The back of the LP lists Brigitte Fontaine, Areski (who performs on many of the tracks) with Art Ensemble Of Chicago, which as stated, this time includes Leo Smith & was just prior to long-term drummer Don Moye joining the mob (no full drum-kit is used on this album).
The Divide is one of the greatest & most salient books I have ever read! it’s also a book/subject that is screaming-out for documentary treatment, as really, everybody the world over needs this information in this kind of stark, veridical form with a cutting quality of certifiably overt-clarity, free from academic restraint or pretention.
The crux of the book is juxtaposition, between gigantic & rampant white collar-crime committed by the wealthy &, well, not so much committing crime as, quite literally, just living in poverty which is becoming, without exaggeration – an unofficial crime itself.
Well it’s about fucking time! Well-off academics recalling ancient childhood experiences of poverty & deprivation or studying contemporary penury from the must of university libraries has got a bit out of control. Oh absolutely, the genuine outrage & in depth & accurate analysis of poverty & the shitter angles of “economically deprived” & destitute communities lives can be exposed & castigated by those that observe the affliction externally rather than suffer directly from it, but the absence of those really on the receiving end in literature putting it in their own words is totally unacceptable. Continue reading Hand To Mouth – The truth about being poor in a wealthy world – Linda Tirado→
Here’s an interesting exercise in atavism. A contemporary shot at a distinctly ancient style using purely analog recording equipment to re-enact/enkindle the original sound & energy-currents. There are some really astonishing 60’s/70’s African reissue compilations (particularly the West African stuff) doing the rounds, most notably for me the superb Analog Africa series levelling some profound gyration & beautiful distorted obscurer from multiple decades back. Vaudou Game perform the raw Funk influenced sound from the Benin, Togo, Ghana districts commingled with Afro-Beat & some Rock styled residue. Continue reading Vaudou Game – Apiafo 12” LP→
The seminal shockwave. Passion-sodden discordant ictus lurid contumacious mayhem with all the hinges gone & the screws ejected from their cavities. Sharrock & his mad-moll Linda took certain principles further than anyone & FIRST! it certainly did not always work but this classic LP is an excellent display of Sharrock’s churlish Avant-Garde aggression. Summoned to agitate the storm-currents are Sharrock on guitar & vocals, his partner Linda on vocalizations & two French session musicians that were synonymous with the BYG/Actuel collective & performances – Beb Guerin on Double Bass & the excellent Jacques Thollot on drums. there are three expeditions, one with a hugely destructive radius – “Soon”. Side-A’s solitary track is the unsettling & ectopic “27th Day, a sixteen minute plus metaplasia of cardinal Avant oddity. It’s a spectacular, bizarre & intensely estranging experience. Continue reading Sonny Sharrock – Monkey Pockie Boo 12”LP→
So this is actually the initial Sharrock as a leader effort, recorded in 1968 two years before the more widely vaunted Monkey-Pockie-Boo LP. Sonny scrambles Dave Burrell on piano, Milford Graves on drums, Norris Jones on bass & of course Linda on larynx-lallation. There are five tracks on the LP, all splaying to different dichotomies. Frankly, I think all but one are really quite terrible, albeit very interesting & adventurous conceptually. Some of Sharrock’s themes & the simplicity exacted (stripped back acoustic for example on Blind Willie), plus the nature of the totally admirable but (to my ears) lost & unfulfilling experimentalism fail to accomplish substantiation as a complete track. Continue reading Sonny Sharrock – Black Woman 12”LP→
Sonny Sharrock was an American guitar-maverick/revolutionary who inspired by the turbulence & absonant progression/permutation of John Coltrane & Ornette Coleman (& others) transfused what is to me the earliest form of Noisecore through the prism of chronic Avant-Garde Free Jazz Expeirmentalism. Imbued by the saxophone as a leading solo instrument, Sharrock created his own approach to the electric guitar, adhering loosely to the same antiphonic expression & intense extemporization as colossus saxophonists in The New Music/Avant Garde. During the mid-sixties he performed in session with Marzette Watts, Herbie Mann, Pharaoh Sanders & incredibly even Wayne Shorter (on 1969’s excellent Super Nova LP) before finally recording his debut as a leader “Black Woman” on the Frisco label “4 Men With Beards” in 68. Sharrock’s indelible supra-progression was largely in his course, anti-phonic, aggressive & ludicrously advanced methodology of guitar playing. At his most abrasive & “out-there” sections of Sharrock’s mid-sixties cacophonic-clarion sound, very literally, like modern-day Noisecore, Extreme Music, Improvisational Noise, Harsh Experimental genres. I find it difficult to overstate his precocity, the guy was there in a developed stage decades before anyone else (certainly to my knowledge) was doing anything like it. again, even comparing these bouts & techniques to neoteric “Noise” assimilating rubrics, this guys ridiculously futuristic & astoundingly-atypical playing style & compositional approach is so far forward it’s hard to believe, & I see his unique innovation & musical hostility as the first incarnation of so much modern “Extreme” music from Metal to Noise & it’s sub-strata’s. Continue reading Sonny & Linda Sharrock – Teleport & Time-Warp→
Here’s one of the most staggering, energetically-strenuous, bedlam-hoisting dynasties in explosive bisecting Free Jazz intensity. As independent musician’s these laureates each excel in their own immense pedigree, but as a trio entity they fused & co-founded a hulking opalescent deluge of atom splintering, non-negotiable, prolonged-pandemonium-pummel-prism & volleyed forth a massive concatenation of consistently eviscerating recordings with a reliability & emblem of quality for the most excruciatingly effusive of outbursts. Lead & founded by pianist Yosuke Yamashita, most references encountered refer to him as “The Japanese Cecil Taylor”! Continue reading Yosuke Yamashita Trio-Chiasma, Clay, Up-To Date & Frozen Days LP→
Ok, so there’s two groups that you have probably never heard of, unless you are one of the most tenacious, autocephalic, crypt-raiding, independently-sourcing & intransigently-intrepid LURPS-like deep-density-explorers running off the kind of pure renegade fervency that so’ so rarely finds a host in today’s barren paste-land of tube-fed monopolized-media miseducated morons & couch-negatos.
There’s always someone that transcends logical progression & will jump a whole series of evolutionary frames & drastically escalate or indeed, upend entirely, the genre or rubric they are operating in. These two incomparably mutated outfits redefined the whole sonic-scape & took the whole professional-demolition & “Anti-Listener” decimation proficiency to a barely fathomable vertex with tons of idiosyncrasy & lashings of perfectionist experimental birth defects & phonic deformity.
Right so, it’s 1980! & some goons from Vancouver are about to vault a decade or so ahead in some kind of precocious portendral catapulting. Tunnel Canary! Who were active between 1978-1983 & transfigured tremendous histrionic, chaotic wild & fervent horrisonant scream-stippled psychedelic sundry, or using neophyte terminology – “Noise”. The sodality consists of three antagonists – Aleh Kaheen (Nathan Holiday) on electric guitar, synthesizer & “processed effects”, Ebra Ziron on vocals & David Sheftel shifting bass & electronic effects. A massive menu of manoeuvres & modalities are mustered, but heaps of cacophonic, harsh, high-pitched, distraint & turbulent turmoil, string straining fret-foible & guitar grating, searing & psychedelic synths, harsh/super distorted Noise, Feedback, Power Electronics & stentorian frequencies. Continue reading Tunnel Canary – Jihad CDR→