Tuesday, 19 June 2018

The Budos Band ‎– The Budos Band II (2007)

Style: Afrobeat, Funk
Format: CD, Vinyl
Label: Daptone Records

01.   Chicago Falcon
02.   Budos Rising
03.   Ride Or Die
04.   Mas O Menos
05.   Adeniji
06.   King Cobra
07.   My Girl
08.   Origin Of Man
09.   Scorpion
10.   Deep In The Sand

Bass – Daniel Foder
Bongos, Congas – Rob Lombardo
Congas – John Carbonella Jr.
Cowbell, Claves, Tambourine – Dame Rodriguez
Drums – Brian Profilio
Flute – Daisy Sugerman
Guitar – Thomas Brenneck
Organ [Farfisa Electric] – Mike Deller
Saxophone [Baritone] – Jared Tankel
Saxophone [Tenor] – Cochemea Gastelum
Shekere, Tambourine – Vincent Balestrino
Trumpet – Andrew Greene, David Guy
Mastered By – Steve Berson
Mixed By – Gabriel Roth, Thomas Brenneck
Recorded By – Gabriel Roth
Executive Producer – Gabriel Roth, Neal Sugarman

The Budos Band's second album, much like their first one, is practically an archeological dig. They've broken down through all the strata of the post-punk/post-disco era to uncover the fertile soil of late 1960s and early 70s Afrofunk and soul-jazz, not to mention funky 70s blaxploitation soundtracks, 60s Now Sound LPs, Ethio-jazz and plain old superbad funk. The end result is something so hip it could kill you in large doses-in the right doses it just plain kills.
The Budos crew hails from Brooklyn, but their outlook is definitely global-- they somewhat restrictively term what they do "Afro-soul," which works well as a basic distillation of what they do and probably at least tells the right people to listen. It's strictly instrumental, but never showy, and they avoid protracted compositions-- there are no twenty-minute Fela-inspired burners on here, just a ton of memorable, concise tracks stuffed with compact solos and big themes played by a big horn section.
The band's rhythm section is truly fantastic. The bass is right in the pocket, the drums keep everything steady and driving, the judiciously employed hand percussion adds a gritty texture, and the guitar does everything from wah'd-out scratching to playing snaky, surfy leads. Checking over the songwriting credits, I was initially surprised to see Smokey Robinson's name in the credit for "His Girl", but listening closely, it is, in fact, based very loosely on "My Girl". It's so thoroughly altered that they could have gotten away with calling it an original, especially at this breakneck tempo, but either way, I'd be willing to bet Smokey never imagined his tune being blasted out by a smoking horn section over a chunky Afrobeat groove.
The band gets into Mulatu Astatke's Ethio-jazz territory on "Origin of Man", which cleverly references Mulatu's homeland of Ethiopia in its title. The dark, deliberate rhythm track is offset by a squealing organ and horns that have just a slight Latin tinge to them. There's not a bad track here, but my favorite might be "King Cobra", which opens with a cool, minor-key passage of film-noir guitar and busts into a crazed horror organ solo after the horns say their part. Opener "Chicago Falcon" has a wicked groove and excellent horn arrangement that pits legato passages against bursts of staccato. It's like the greatest library track DeWolfe never released in the 70s.
This is a supremely entertaining record, perfect for dancing, driving or just providing a soundtrack when you want to nod your head in time to something. The true secret to the Budos Band's success is that they keep it short and to the point. Only a few songs even make it past four minutes, and those are that long because they're able to sustain it. When your whole sound is based on the groove, keeping your listener wanting more is essential, and this does that. While it doesn't really represent a change from their first album, II is proof that the Budos Band's formula is good for a lot of mileage. I know I'll be listening a lot.                                                                              
Joe Tangari / Pictchfork

VA – Baku: Symphony Of Sirens (Sound Experiments In The Russian Avant Garde) (2008)

Style: Field Recording, Modern, Political, Avantgarde, Poetry, Soundtrack, Radioplay
Format: CD
Label:  ReR Megacorp ‎– ReR RAG 1&2

1-01.   Arseny Avraamov - Symphony Of Sirens
1-02.   Velimir Khlebnikov - The Radio Of The Future
1-03.   Ivan Ignatyev & Ego-Futurists Group - The First Spring Concert Of Universal Futurism
1.04.   Mikhail Matiushin & Kazimir Malevich & Alexei Kruchenykh - Introduction
1-05.   Mikhail Matiushin & Kazimir Malevich & Alexei Kruchenykh - Act 1: Bully's Song
1-06.   Mikhail Matiushin & Kazimir Malevich & Alexei Kruchenykh - Acte 2: Petite Bourgeoisie
1-07.   Mikhail Matiushin & Kazimir Malevich & Alexei Kruchenykh - Other Excerpts And Final Opera With "Military Song"
1-08.   Dziga Vertov - Laboratory Of Hearing (From The Rumor Of A Cascade)
1-09.   Dziga Vertov - Laboratory Of Hearing (From The Rumor Of A Sawmill)
1-10.   Arseny Avraamov - The March Of The Worker's Funeral
1-11.   Nikolai Foregger & His Orchestra Of Noises - Mechanical Dances
1-12.   Sergei Prokofiev & Georgi Yakoulov - Factory
1-13.   Dziga Vertov - Radio-Ear / Radio-Pravda
1-14.   Konstantin Melnikov - Sonata Of Sleep
1-15.   No Artist - Pause-Sleep...
1-16.   Igor Severyanin - Overture
1-17.   Igor Severyanin - Echo
1-18.   Vasilisk Gnedov - Poem 14
1-19.   Alexei Kruchenykh - Dyr Bul Shchyl
1-20.   Vladimir Kasyanov & The Futurist Circle - Drama In The Futurists' Cabaret
1-21.   David Burliuk - The Family Of Vowels, Laughingly
1-22.   Elena Guro - Finland
1-23.   El Lissitzky - About Two Squares - A Suprematist Story
1-24.   Olga Rozanova - [Spain]
1-25.   H₂SO₄ Group - Dada
1-26.   Simon Chikovani - Tsira
1-27.   Nothingists - Manifesto From Nothingism
1-28.   Nothingists - Decree About The Nothingists Of The Poetry
1-29.   Vasily Kandinsky - To See
1-30.   Kazimir Malevich - Poem
1-31.   Olga Rozanova - Poem Without Title
1-32.   Daniil Harms - Lapa/Paw
1-33.   Igor Terent'ev - Endless Toast In Honor Of Sofia Georgievna
1.34.   Mikhail Larionov - Ozz...
1.35.   Psycho-Futurists Group - Zatirlikali Lirlyuki
1-36.   Vasily Kamensky - Poem To The Letter 'K'
1-37.   Varvara Stepanova - Rtny Khmole
1-38.   Roman Jakobson - Mglybzhvuo
1.39.   Roman Jakobson - Distraction
1-40.   Vasilisk Gnedov - Poem Of The End

Original Recordings:
           Enthusiasm! The Dombass Symphony
2-01.   Dziga Vertov - Untitled
2-02.   Dziga Vertov - Untitled
2-03.   Dziga Vertov - Untitled
2-04.   Dziga Vertov - Untitled
2-05.   Dziga Vertov - Untitled
2-06.   Dziga Vertov - Untitled
2-07.   Dziga Vertov - Untitled
2.08.   Dziga Vertov - Untitled
2.09.   Dziga Vertov - Untitled
2-10.   Dziga Vertov - Untitled

2-11.   Alexander Mossolov - Zavod, Symphony Of Machines
2-12.   Julius Meytuss - Dneiprostroi, Dneiper Hydro-Electric Power Station
2-13.   No Artist - Pause
2-14.   Roman Jakobson Reads Velimir Khlebnikov - Incantation By Laughter
2-15.   Alexei Kruchenykh - Winter
2-16.   Vladimir Mayakovsky - Naval Romance
2-17.   Lili Brik Reads Vladimir Mayakovsky - From Street To Street
2-18.   David Burliuk - House-Painter
2-19.   Sergei Esenin - Confessions Of A Hooligan
2-20.   Vasily Kamensky - The Way I Live
2-21.   Semën Kirsanov Reads Velimir Khlebnikov - Not To Panel!
2-22.   Lenin - What Is Soviet Power
2-23.   Anatoli Lunacharki - On People's Education
2-24.   Alexandra Kollontay - To The Workers
2-25.   Leon Trotsky - 10th Anniversary Of The Left Opposition
2-26.   Boris Pasternak - Night
2-27.   Anna Akhmatova - To The Muse
2-28.   Osip Mandelstham - Gypsy Girl
2-29.   Ilya Ehrenburg Reads Marina Tsvetaeva - You Walk, Resemblin Me
2-30.   Naum Gabo & Noton Pevsner - The Realistic Manifesto
2-31.   Dmitri Shostakovich - Radio Message
2-32.   Dmitri Shostakovich - Radio Broadcast Of The Leningrad Symphony

tSubtitled: Sound Experiments In The Russian Avant Garde -- Original Documents And Reconstructions Of 72 Key Works Of Music, Poetry And Agitprop From The Russian Avant Garde 1908-1942. "These two CDs and 72 page clothbound book offer the most comprehensive presentation of the experiments and innovations in the exploration of sound by the historical Russian Avantgardes ever attempted. This publication is based around the sounds themselves. Though much was not documented at the time, and some has been lost, what remains is collected on the second CD, which centres around Dziga Vertov's prescient environmental sound composition for the 1930 film Enthusiasm..The Dombass Symphony -- and also collects together for the first time 22 original recordings of Mayakovsky, Mossolov, Jakobson, Khlebnikov, Lenin, Lunacharsky, Kollontay, Trotsky, Pasternak, Meytuss, Akhmatova, Mandelstahm, Naum Gabo, Shostakovich and others. But what makes this collection doubly valuable, and unique, are the contents of CD1, which consists of 40 painstaking reconstructions -- made by the Laboratorio de Creaciones Intermedia, Dept. of Sculpture at the faculty of Fine Arts in Valencia, Spain -- of documented sound-works that have subsequently been lost, above all the now legendary 'Symphony of Sirens' at Baku, by Arseny Avraamov. This massive open air composition, for two artillery batteries, several full infantry regiments, all the foghorns of the Caspian flotilla, several sea-planes, twenty-five steam locomotives, multiple choirs, arrays of pitched steam whistles and all the city's factory sirens can now, for the first time, be approached as a physical event through this careful and accurate spatialised audio reconstruction (using original contemporary source materials) as well as 39 other priceless lost works, including the legendary Victory over the Sun (mayak &c) and other works by Vertov, The Orchestra of Noises, Prokofiev, Mayakovsky, El Lissitsky, The Nothingists, Jandinsky, Malevich, Rozanova, Larionov, the Psycho Futurist Group, Kamensky, Jakobson, and others. The CDs give body to Miguel Molina Alarcon's comprehensive overview of the complexity and breadth of the many early C20 Russian avantgarde movements, and there are extensive detailed notes and contexts for all the individual recordings, as well as biographies of the artists, additional work-notes on the process of the Baku reconstruction, a bibliography, rare photographs, web research links, related artwork, facsimiles of contemporary documents, a comparative timeline of European and Russian Avantgarde movements, and the first English translation of an article by Avraamov about his events. Apart from a general appeal, this is a work particularly suitable for libraries, educational institutions and galleries."
Fonte / forcedexposure

Hieroglyphic Being, Sarathy Korwar, Shabaka Hutchings ‎– A.R.E Project (2017)

Style: Electronic, Experimental
Format: Vinyl
Label: Technicolour ‎– TCLR 023

1.   The Doctrines Of Swedenborg
2.   Calling The Loas
3.   Dimensions Of Frequency & Vibrations
4.   Ashrams

Jamal Moss AKA Hieroglyphic Being - Electronics
Shabaka Hutchings - Saxophone
Sarathy Korwar - Drums

Ok so anyone with their ear to the ground may be aware of this. Last year Chicago's alt demi-god Hieroglyphic Being joined forces with percussionist / producer Sarathy Korwar (who fused traditional folk music of the Sidi community in India with jazz and electronics on his debut album “Day To Day”) and Shabaka Hutchings (the highly respected British saxophonist and co-founder of Sons Of Kemet, Mercury-nominated The Comet Is Coming and Shabaka & The Ancestors). They recorded a 100% live improvised session at the iconic Lightship95 studio moored at Trinity Buoy Wharf, London. They recorded over 2.5 hours of music across 2 sessions, with 90 minutes streamed live via NTS. Here we get some choice selections from the session, handily split across four tracks (vexaciously I struggle with naming improv sessions, posthumously, after the session has 'died', but hey that's just me - ed). "The Doctrines Of Swedenborg" gallops in on gentle percussion while sine tones beam down from the outer galaxies amid a gust of solar winds and squalls of space dust. Hutchings' sax weaves a delicate but evocative passage through the melee, elevating the track even further out of our Earthly reach. Very heavenly, and thus achieving its allegiance with the cosmos. "Call The Loas" continues the theme, with Jovian elements mixed with the typical, jarred rhythms we associate with Hieroglyphic Being and further embellished with that epic freestyle sax work. "Dimensions Of Frequency & Vibrations" sees the trio plummet into cavernous, pitch-black realms, rotating percussion patterns grinding and whirring against abrasive, caustic elements until a winding, mystic lead line comes darting in straight from Hieroglyphic's Maths+++ catalogue. "Ashrams" concludes in suitably spiritual form, a tribal mantra that calls to the gods. Featuring tough tabla fighting hard drum machine usage while an aggressive, staccato sax line fires up a storm. Excellent stuff here from three unchampioned kings of the leftfield - voodoo tech-jazz for the freaks, gremlins and cyborgs.
Fonte / Piccadilly Records