Recording of the Month

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Recording of March 2011: For the Ghosts Within


Wyatt/Atzmon/Stephen: For the Ghosts Within

Domino DNO271/WIGLP263 (CD/LP). 2010. Gilad Atzmon, prod.; Robert Wyatt, Jamie Johnson, Philip Bagenal, engs. ADD? TT: 56:13

Performance *****

Sonics ****


For the Ghosts Within marks my introduction to the wonderful world of Robert Wyatt. It happened in Denver, Colorado, at around 1am, several hours after the first full day of the 2010 Rocky Mountain Audio Fest. I'd taken a break from posting blog entries to flip through the November 2010 issue of my other favorite magazine, The Wire. There, on p.11, I saw a neat, simple ad that offered little more than an album's intriguing cover art: stencil-like cutouts of three figures that seem meant to represent the album's three musicians, though these figures are almost entirely stripped of human form, reduced or distilled to their musical functions—as if the players are their instruments. Drawn by the rich colors and provocative imagery, I went straight to Domino Recording Co.'s website and listened to "Laura," track 1 of For the Ghosts Within. (Like so much of the album, "Laura" was completely new to me, but I have since learned that it is the title song from the 1944 film Laura, composed by David Raksin, and given fine treatments by Ella Fitzgerald, Frank Sinatra, and Julie London, among others.)

Recording of February 2011: Markus Schwartz & Lakou Brooklyn: Equinox


Markus Schwartz, Haitian Rada & Petwo drums, miscellaneous percussion, loop sampler, conch, vocals; Jean Caze, trumpet, flugelhorn, conch, vocals; Monvelyno Alexis, electric guitar, percussion, vocals; Paul Beaudry, double bass, percussion

Soundkeeper SR1002 (CD). 2010. Barry Diament, prod., eng. DDD. TT: 43:16

Performance ****

Sonics *****


Think of flat, one-dimensional downloads of soulless, AutoTuned music that sounds more manufactured than played. Then feast on this.

Recording of January 2011: Funeral Mariachi

Sun City Girls Funeral Mariachi

Abduction ABD 045LP (LP). 2010. Alan Bishop, prod., eng.; Scott Colburn, Randall Dunn, engs. AAA. TT: 37:12

Performance ****

Sonics ****


There are musicians for whom fame and fortune hold no allure, whose goal is to fulfill a more esoteric vision. Nearly 50 albums and 25 years ago, three mad punk polyglots, their brains baked by the Arizona sun, and all of them in love with the Middle East–North Africa axis of what, in the 1980s, was ineptly titled "world music," decided to make music without borders. With no fear of influences and no burning ambition for commercial success, they zestfully and successfully mixed comedy, noise, Zappa, Beefheart, Middle Eastern drones, jazzy horns, psychedelia in all its forms, film composer Ennio Morricone's inventive moodiness, Indonesian Gamelan mojo, lots of real and made-up languages, and, yes, some actual singing. Rougher in the beginning, the records began to sound better as time went on.

Recording of December 2010: Blood/Candy

Having a long career in the temporal world of indie rock, as the Posies have, has its drawbacks. Before I wrote this review, someone sent me a quote about Blood/Candy from the all-powerful world of Internet music criticism, where speed trumps knowledge. "A collection that's thankfully a world away from their largely charmless and invariably dull nineties output for Geffen."
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