Posts Tagged ‘Eclectic’

Monotype Rec – MONOLP018 – 14th November 2016

Christopher Nosnibor

However broad one’s mind and tastes, there will inevitably be some artists who will baffle, bewilder and leave one somewhat dazed. Carp’s Head, a collaboration between Ghédalia Tazartès, Pawel Romanczuk, and Andrzej Zaleski is one of those releases. So much so, that my first reaction was one of borderline horror, a recoiling, an internal cry of ‘what the hell is this?’

‘Danse Inverse’ begins with a bleep. Minimal electro? Nope. A grizzled yet semi-operatic yellering starts up, almost simultaneous with a strolling bass, wonkily-played and a woozy accordion. Tazartès whoops and grunts, growls and emotes wildly like a drunken French opera singer impersonating Tom Waits, while the cacophonous musical backing veers and weaves all over. The weirdness only continues and as the album progresses, taking the listener on a bizarre journey around the globe and as observed through the eyes of three madmen. ‘You’ll Be Wise’ comes on like Scott Walker on acid, while the quietly crooning ‘Zither Song’ is sparse and eerily haunting in a mystical, dream-like way. ‘Orient Calling’ marks a continental shift in terms of the musical inspirations and influences, a droning sitar accompanies Tazartès’ yodelling ululations and low, chesty quaverings.

The album’s centrepiece is the nine-minute epic ‘Wolves and Birds’, a bleak and disorientating expanse of dark ambience. The wordless vocalisations convey a sense of lack, of absence, as they float, wailing and disembodied through the sonic wastelands. There’s plenty of weirdness on the other side of the bridge, too, with tweeting, trilling pipe notes and scratchy layers of sound by turns tickling and teasing the listener’s senses.

Jazz percussion breaks out unexpectedly at various points, bringing an odd and somewhat incongruous swing to proceedings. With its ‘Trout Mask’ connotations and overt otherness, Carp’s Head is many things: it is, in fact, remarkably focused and feels extremely cohesive in its order, less experimental and more built on musical intuition between the players. I’m not sure I recommend it, or if so, to whom, but there’s no question that it’s interesting or different.

 

Carps Head

Advertisements

Alrealon Musique – ALRN072 – 31st October 2016

Christopher Nosnibor

New York underground act The Strange Walls aren’t conformists or readily categorised: previous releases have been called shoegaze, darkwave, post punk, art punk, experimental, outsider. I’m not even sure what ‘outsider’ is supposed to sound like, but they’re big into their pseudonyms, thus cultivating an air of mystery around the band and their music. Emerging from an ever shifting lineup, core trio of the class of 2016, consisting of Jon V. Worthley, Dan Drogenous and Regna Yates, assisted by Jimmy Ayatollah and John Spreaders have whipped up something appropriately esoteric and wide-ranging for this release.

More significantly, …Won’t Last straddles many genres and yet subscribes wholly to none. A slow, ominous echoey bassline rent with shrieking, ghostly incidentals provide the musical backing to Regina’s vocal, which sings a vaguely familiar melody. But then it’s straight into a squalling lo-fi post-punk racket reminiscent of The Jesus and Mary Chain and A Place to Bury Strangers crossed with The Pop Group. It’s hard on the ears, and the contrast is almost schizophrenic. When an album’s tracks are as diverse as this, spanning psychedelia and folk and sometimes incorporating elements of at least two or three within a single song, it’s inevitable that some tracks will appeal more than others, and this is something which is wholly subjective. Yet the fact that there are some clear standout tracks is an objective observation, and the sequencing of the tracks accentuates this fact. The bleak electro sound of ‘In Time’ combines steely synths with a dash of dark pop sensibility which calls to mind early 80s Cure, and with its primitive, distant drum sound and reverb-soaked synth oscillations, ‘White’ lands somewhere between Cocteau Twins and Silver Apples, and these tracks inevitably sound stronger against the softer, less structured folky strummers. ‘Snow Day’ leans heavily on early New Order, while ‘Yawdons’ fulfils the criteria for obligatory droning experimental piece.

The ramshackle production equally works both for and against the album as a whole. Being better suited to some tracks than others, at times adding space and partially obscured sonic depths, at other simply sounding messy. The result, then, is an album that’s a bit hit and miss. Not bad, and in places brilliant, but a few tracks that will likely become skippers after a while.

 

The Strange Walls