Your ears will burn

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The first album from the "Berlin Trilogy"

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Once you tame this wild, noisy, amphetamine-fueled, out-of-control beast of an album, it will be your best friend for a lifetime. Few albums are as off-putting on initial hearing; fewer still will reward you more after hundreds of spins. Inexplicably, its chaos, noise, and howling confusion will become comforting. But it takes awhile...

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Their goth-sounding name and dour visual image aside, the prolific duo of Brendan Perry and Lisa Gerrard produce wildly eclectic but utterly unique music. Their painstakingly crafted albums encompass numerous arcane genres, from European classical music to ancient Celtic and Middle Eastern folk styles, often employing authentic antique instruments to achieve their ambitious, emotive soundscapes. The 1993 effort Into the Labyrinth found Dead Can Dance mixing their medieval leanings with more exotic Eastern influences on "Saldek" and "Yulunga," while exploring Celtic balladry on the traditional "The Wind That Shakes the Barley" and theatrical songcraft in their interpretation of Bertolt Brecht's "How Fortunate Is the Man with None." --Scott Schinder

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An enduring reflection of the essence of time perceptible in its own right, can be established through the act of intimate listening where the self becomes immersed in re-living the experience of a journey or the immortalised passing of something disclosed as streaming images. As with all concrete music composers B. Parmegiani yields to this charm and in his works, it takes on the forms of continuous temptation marked throughout by a sense of the forbidden and by a certain fear. The listener is brought to wonder whether the composer actually intended to finish once and for all with the power of Orpheus.
In any case the train emerges as mans best friend and so it is here for Parmegiani the musician exploring and recasting dreamlike intricacy. Both through the effect of continuum and streaming images time is transformed into space literally transporting us.

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After several graph compositions and early pattern pieces with jazz ensembles in the late '50s and early '60s (see "Concert for Two Pianists and Tape Recorders" and "Ear Piece" in La Monte Young's book An Anthology), Riley invented a whole new music which has since gone under many names (minimal music — a category often applied to sustained pieces as well — pattern music, phase music, etc.) which is set forth in its purest form in the famous "In C" (1964) (for saxophone and ensemble, CBS MK 7178). "Rainbow in Curved Air" demonstrates the straightforward pattern technique but also has Riley improvising with the patterns, making gorgeous timbre changes on the synthesizers and organs, and presenting contrasting sections that has become the basic structuring of his works ("Candenza on the Night Plain" and other pieces). Scored for large orchestra with extra percussion and electronics, some of this work's seven movements are: "Star Night," "Blue Lotus," "The Earth Below," and "Island of the Rhumba King."

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In May 1999, French bassist Joëlle Léandre was in Montreal for a concert and a recording session with drummer Danielle P. Roger (ex-Justine, Les Poules, Wondeur Brass). The result of this encounter was released in early 2000 by Ambiances Magnétiques under the tittle Tricotage (Knits), a feminine title for an album soaked in feminine sensibility. The two improvisers make one with their instruments, Léandre letting sighs and moans escape along the way (like on the beautiful "Knit One, Purl Three"). The pretentiousness found on Ambiances Magnétiques' releases from the same period is absent on this CD; the music goes down to the roots of improvising, taps into the unconscious: a bass that can sound like a drum playing with a delicate drum set that could almost sound melodious. Tricotage is a very organic record, quite sensual at times, and makes an enjoyable listen.

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Words like "approachable" and "engaging" are rarely invoked when describing the work of so-called avant-garde musicians, and it sometimes seems true that avant experimentalists bend over backwards to push mainstream listeners away rather than welcome them. Not so Iva Bittová, a composer, violinist, and vocalist who proves that the avant-garde can be broadly appealing without compromising its adventurous spirit. On Elida, Bittová succeeds in humanizing the Bang on a Can All-Stars, that collective of New Yorkers often primarily noted for mind-boggling technical skills when tackling the formidable minimalist and post-minimalist works of modern composers like Louis Andriessen and the Bang on a Can collective's own Michael Gordon. Here, a six-piece incarnation of the All-Stars is her backing band, and the musicians prove to be ideally suited to the task, a dose of Bittová's Czech folk, chamber music, and cabaret proving the ideal formula to reveal their softer and more intimate sides. The album follows a thoughtful and well-conceived trajectory, with Bittová's shouting, babbling, and skittering vocals making an early entrance on "Malíri V Parízi" (Painters in Paris) but seeming to slide gracefully into a mature beauty before the listener's ears as the album progresses, although she never completely abandons her childlike playful qualities.

Elida is an essential release in Iva Bittová's catalog, and a fine introduction to her music for those unfamiliar with her.

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One aspect of the polymorphously polyrhythmic music of Conlon Nancarrow is its lack of practicality in live performance. Nancarrow didn't have, in his time, access to electronics, and as his interest in hearing multiple levels of rhythmic activity increased he turned to the only medium capable of delivering the goods — the pneumatic technology of the player piano, driven by the "digital software" of a paper roll punched by hand. About the time his work began to gain attention, Nancarrow started to receive commissions for works from real, flesh-and-blood players. Ten of Nancarrow´s studies are heard combined with six other works written for human players. Three Two-Part Studies, Prelude, Blues, and Sonatina are early works from the 1930s and '40s, and the Three Canons for Ursula and Tango? are late works. The obvious benefit that human intervention brings to the table in these pieces is a sense of touch and expression. Nancarrow's modified player pianos were capable of delivering discretion between soft and loud, but there was little they could achieve in terms of any gradations in between. The Bugallo-Williams Piano Duo demonstrates that there is a lot to experience in Nancarrow's music outside the realm of its pneumatic context. Bugallo and Williams make Nancarrow's horrendously difficult rhythmic textures seem both natural and non-mechanical. Particularly impressive is their handling of three movements from the "Boogie Woogie Suite," namely Studies No. 3B in C and D; although the original player piano version is very exciting, Bugallo and Williams make it sound like a fractured duet between Art Tatum and Meade Lux Lewis.

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David Bowie, Karen O, Nick Zinner, Trent Reznor and Kazu Makino cannot all be wrong. Neither a front cover on SPIN, or more than 15 "Best of 2006" lists.
Return to Cookie Mountain is truly mesmerizing.

SoundsLike: New York, Post-Punk, Funk, Soul

DoWnLoaD

"Just look for 'The Best of 08' in every indie music site or magazine and see that this is the best album of the last year"

Sounds like:
avant garde, experimental
Menomena, Deerhunter, Liars

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"Sin duda uno de los mejores discos del KrautRock y uno de los mejores exponentes de Alemania"

(United Artist, 1972)

Sounds Like:
Kraut Rock, Progresive
Tangerine Dream, Neu!

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