HIROSHIMA-EAST AND PROVIDENCE
Hiroshima-East and Providence.
Label: BGO Records.
By 1989, Hiroshima was preparing to release their much-anticipated sixth album East, which was the followup to 1987s Go, which was the most successful album of the band’s ten year recording career. For Hiroshima, East and Providence which was recently reissued by BGO Records as a two CD set, were the next chapters in their career. Dan Kuramoto who had founded Hiroshima in 1974, hoped that the success they had been enjoying would continue.
For Dan Kuramoto who had founded Hiroshima in 1974, the last fifteen years had been a roller coaster ride. Much had happened to his group, including a number of changes in Hiroshima’s lineup. However, everything paid off in 1979, when Larkin Arnold had signed Hiroshima to Arista. This was what Hiroshima had been working towards over the last five years, and they decided to grab the opportunity with both hands.
Later in 1979, Hiroshima released their eponymous debut album which sold over 100,000 copies in the first three months, and eventually peaked at fifty-one on the US Billboard 200. Buoyed by the success of Hiroshima, the irresistible Room Full Of Mirrors was released as a single and reached eighty in the US R&B charts. However, by then, Room Full Of Mirrors was a favourite within the easy listening community and introduced Hiroshima’s music to a new and wider audience.
Following the success of their eponymous debut album, Hiroshima returned with their sophomore album Odori in 1980. It reached seventy-eight on the US Billboard 200 during an eighteen week stay on the charts. By then, the lead single from Odori was Warriors, which gave Hiroshima a minor hit single when it charted at seventy-nine in the US R&B charts. This was the last hit single Hiroshima enjoyed at Arista.
After the release of Odori, Larkin Arnold who had signed Hiroshima moved to Columbia’s imprint Epic. This was a huge blow for the band, as Hiroshima was Larkin Arnold’s signing, and his replacement might not place the same importance on the band? Hiroshima found themselves in limbo.
Fortunately, Larkin Arnold hadn’t forgotten about Hiroshima, and by 1983, they signed to Epic and in 1983 released their third album Third Generation. It was their first album to make use of drum machines and synths, as Hiroshima had been later to embrace the new technology which transformed their sound. Despite that Third Generation stalled at 142 in the US Billboard 200 and fifty in the US R&B charts. However, when San Say was released as the lead single, it reached sixty-eight in the US R&B charts and became Hiroshima’s biggest hit single. For Hiroshima this was a small crumb of comfort, as their thoughts turned to their fourth album Another Place.
By the time Another Place was released in 1985, there had been a number of changes, and session players brought in to augmented the depleted lineup. They played their part in the reinvention of Hiroshima on a genre-melting album. When Another Place was released to critical acclaim in 1985, it reached number seventy-nine in the US Billboard 200 and eight in the US Billboard Jazz chart. After a year in the US Billboard Jazz chart,
Another Place had sold over 500,000 copies and was certified gold. This meant that Another Place was the most successful of Hiroshima’s four album career. Now Hiroshima had to replicate the success of Another Place.
This wasn’t going to be easy, but the members of Hiroshima were determined to build on the success of Another Place. When Hiroshima returned in the autumn of 1987 with Go, it was hailed as one of Hiroshima’s finest albums, and a fitting followup to Another Place. Go which means five in Japanese, was released in autumn 1987, reached seventy-five in the US Billboard 200 and fifty-four in the US R&B charts. This was enough for the second gold disc of Hiroshima’s career, and became their most successful album.
East.
After the success of Go, Hiroshima were asked to create a musical play which told the story of the band. This was a surprise even despite Hiroshima’s recent success. While they had two gold discs to their name, many record buyers still hadn’t heard of Hiroshima. Part of the problem was that Hiroshima were unlike many bands, and didn’t fit neatly within one musical genre. Instead, their music straddled several genres and combined different cultures. In doing so, Hiroshima a band that reflected both American and Japanese cultures, created ambitious, genre-melting music. This was a story that deserved to be told.
Dan Kuramoto, agreed to write and perform a musical play that told the story of his band Hiroshima. The play eventually became San Se, which in Japanese means third generation. This was apt, as Dan Kuramoto and Danny Yamamoto’s were both third generation. Once San Se was written, both men were became part of Hiroshima’s next success story.
When Hiroshima took to the stage at the 850 seat Music Centre in downtown LA, on the first night of the San Se’s run, little did anyone know the impact the play would have. Not only did San Se with its inclusive narrative strike a chord from Americans who came from immigrant families, but San Se was a roaring success. Even today, it’s still the second or third generation play at the Music Centre. Hiroshima’s success story continued apace.
Following the success of San Se, Hiroshima began work on their sixth album, which eventually became East, where the band decided to celebrate their Asian roots. Each member of Hiroshima were from immigrant families, and had grownup in the ghettos. This commonality brought the band together and was something they share and could relate to as they began work on their sixth album.
Before that, Hiroshima had to bring onboard a new vocalist as Barbara Long, the band’s previous singer had left after having a baby. Fortunately, the band knew the perfect replacement, and someone with an impeccable musical pedigree Margaret Sasaki-Taylor a.k.a. Machum.
She was born in Japan, but had moved to America as a six-year-old. Before long, Machum had discovered music, and was following in the footsteps of her grandmother who was a Japanese koto master. Having discovered the koto, Machum went on to become one of its finest exponents, and by the time she joined Hiroshima, was recognised and regarded as a virtuoso musician. Despite her skills as a musician, Machum had been one of Pink Floyd’s backing vocalists on The Wall tour. Now that the tour was over, she was free to join of Hiroshima and become their vocalist.
For their sixth album Hiroshima decided to include some of the songs that had featured in their musical San Se, including Thousand Cranes. These tracks were augmented by some new ones. Again, founder member Dan Kuramoto was Hiroshima’s songwriter-in-chief penning East, Streetcorner Paradise, Come To Me and You and Me. He wrote Midtown Higashi with Danny Yamamoto, Johnny Mori and June Kuramoto; Tabo with Darrell Yoshihara; Living In America with Dean Cortez and Thousand Cranes with Derek Nakamoto. June Kuramoto and Kimo Cornwell wrote Daydreamer, while The Golden Age was a song penned and co-produced by Skylark who later, joined the Doobie Brothers in 1995. These song became East, which was Hiroshima’s sixth album.
Recording took place in LA, at Sunset Sound Factory and Sunset Sound Factory, where Hiroshima were joined by a few friends. By now, Hiroshima was a five piece band led by Dan Kuramoto who played keyboards, synths, flutes, saxophones, programmed synths and drum machines and added backing vocals. Danny Yamamoto played drums, percussion, keyboards, synths and was involved in programmed synths and drum machines. June Kuramoto played koto and shamisen, while Johnny Mori played taiko and percussion. New recruit Machum played guitar and sung lead vocals. Augmenting the new lineup of Hiroshima were a few friends.
Joining Hiroshima was bassist and backing vocalist Dean Cortez; guitarist and backing vocalist TJ Parker and keyboardist Kimo Cornwell who played and programmed synths. The trio was joined by vocalists included Augie Johnston, Jim Gilstrap, Lillian Tynes, Marva Barnes, Phil Perry and Phillip Ingram. These talented musicians and vocalists played their part in the sound, and hopefully, the success of East, when it was released in 1989.
When East was released in 1989, it was to plaudits and praise, as critics welcomed an album where Hiroshima celebrate their Asian roots. However, East was also an album where Hiroshima continued to fuse Asian and American influences on what was a slick, carefully crafted and genre-melting music.
On East, Hiroshima combined tradition Western and Eastern instruments with the technology that was transforming music. Synths and drum machines were deployed effectively on East, where Hiroshima combined everything from AOR and avant-garde, to electronica, funk, jazz, New Age, pop, R & B and rock. The result is an album where East meets West musically.
East opens with Midtown Higashi where a recordings of everyday city life gives way to what’s best described as an avant-garde, New Age instrumental. It’s followed by another instrumental, East where Hiroshima celebrate the cultural diversity of America in 1989. In doing so, that combine traditional Eastern instruments and influences with elements of electronica, funk, jazz and rocky guitar licks. Tabo makes Machum’s debut on this smooth and soulful sounding track where the new vocalist delivers one of the best vocals on the album. Machum returns on Living In America where her heartfelt vocal adds the finishing touch to this fusion jazz, funk and rock. With its carefully crafted, slick sound where East meets West, Daydreamer, a beautiful, memorable instrumental almost heads in the direction of smooth jazz.
The tempo rises on The Golden Age, as Machum takes charge of the lead vocal. It veers between tender and impassioned to coquettish, but is always soulful. Streetcorner Paradise is another instrumental and again, and floats along its slick and smooth sound a successful marriage of Eastern and Western influences. On the beautiful ballad Come To Me, Machum combines emotion and sincerity as she delivers a soulful vocal masterclass while Japanese instruments add the finishing touches to this cross cultural collaboration. Straight away, You and Me has a real eighties sound, but it’s a track that has stood the test of time. Maybe that is due to the fusion of Eastern and Western instruments and influences that play their part in this musical potpourri? Closing East, is Thousand Cranes a poignant and thought-provoking song that originality featured in the play San Se.
When East was released in 1989, the album stalled at 105 in the US Billboard 200, and failed to even trouble the US R&B charts. This was a huge disappointment for Hiroshima as this carefully crafted album was slick, melodic and had many memorable radio friendly songs. East was the one that one that got away for Hiroshima, who really needed their seventh album Providence, to be a success.
Providence.
Following the disappointing sales of East, Hiroshima weren’t tempted to rush out their seventh album Providence. Instead, it was three years before they returned with the followup East. Providence, the members of Hiroshima must have known was the most important album of their career. They only owed Epic one more album, and if Providence wasn’t a commercial success there was every chance that their contract wouldn’t be renewed. There was no sentiment in music, even though two of the four album Hiroshima released for Epic had been certified gold. For Hiroshima Providence was make or break.
This time around, Dan Kuramoto wrote five of the ten tracks and cowrote the other two. He also wrote Time On The Nile with Kimo Cornwell, while the pair wrote Island World with Dean Cortez. The other track on Providence was the June Kuramoto composition Turning Point was joined by a cover of Stevie Wonder’s Ribbon In The Sky Just and Diane Louie’s One Of Us. Just like the rest of the album, these cover versions were recorded in familiar surroundings.
Despite East’s failure to match the sales of Another Place and Go, recording again took place at Sunset Sound Factory and Sunset Sound Factory in LA. By then, Hiroshima was a seven piece band with bassist and backing vocalist Dean Cortez; keyboardist Kimo Cornwell who played and programmed synths joining new vocalist Jeanette Clinger, who had beaten off stiff competition to become Hiroshima’s new vocalist. However, the newcomer had a lot to live up to after Machum’s contributions on East.
As recording began, founder, bandleader, producer and keyboardist Dan Kuramoto programmed and played synths, flutes, saxophones, shakuhochi and added backing vocals. Danny Yamamoto played drums and taiko; June Kuramoto played koto and shamisen, while Johnny Mori played taiko and percussion. The new lineup seven pice of Hiroshima was augmented by a guitarist Allen Hinds and percussionist Richie Gajate Garcia when Providence was recorded.
Prior to the release of Providence in 1992, critics had their say on Hiroshima’s seventh album. Just like East, the album caught the imagination of critics who were won over by Hiroshima’s first album in three years.
Opening Providence Time Of The Nile, which dedicated to Miles Davis, and was a track he would’ve approved of as it seems to have been inspired by his 1986 comeback album Miles. It starts off as an atmospheric and dreamy mood piece, before becoming a jazz workout that allows Hiroshima’s new lineup to showcase their considerable skills. The ballad Cry Of The Sea finds new vocalist Jeanette Clinger making her Hiroshima debut as she delivers a tender, heartfelt and wistful vocal. By the end of the song, it looks like Hiroshima have found the perfect replacement for Machum. Slow, smooth and carefully crafted describes the ruminative sounding Turning Point which allows time for reflection. Gradually, the instrumental reveals its secrets as Hiroshima combine American and Japanese as the arrangement builds before reaching a memorable crescendo.
It’s all change on Island World where the tempo rises as musical shape shifters Hiroshima flit between Caribbean influences and Latin jazz. In doing so, they pay homage to the many Latin musicians they played alongside in LA.
Very different is the ballad Ribbon In The Sky, which features Jeanette Clinger at her most soulful. This she does against a slow, subtle arrangement which sometimes, becomes jazz-tinged before Hiroshima fuse American and Japanese influences. With This Heart heads in the direction as Jeanette Clinger picks up where she left off on Ribbon In The Sky and plays a starring role. Meanwhile, Dan Kuramoto’s scorching saxophone and Dean Cortez’s slapped bass play supporting roles on one of the highlights of Providence. So too is the rueful dreamy, shimmering sounding instrumental Autumn Moon. It gives way to Kazen a short soundscape that lasts just forty-one seconds and acts as a bridge to Providence, which marks the return of Jeanette Clinger. Her powerhouse of a vocal reflects on the subjects of fate and destiny, while the arrangement is variously funky, rocky, percussive and jazz-tinged.
It’s as if Hiroshima are determined to end the album on a high. They do with One Of Us which was a stirring and inspirational anthem-in-waiting which ended the album on a high. Surely this would lead to a change in Hiroshima’s fortunes?
Sadly, that wasn’t to be. When Providence was released in 1992, the album was a commercial failure, neither troubling the US Billboard 200 nor the US R&B charts. For Hiroshima, this was the end of the road at Epic. They decided to leave Epic, as they had fulfilled their contractual obligations.
The Epic years had been the most successful of Hiroshima’s career, and saw 1985s Another Place and 1987s Go certified gold. Sadly, Hiroshima were unable to build on this, and neither East nor Providence enjoyed the same success. Instead, East and Providence which were recently remastered and reissued by BGO Records as a two CD set, feature two underrated hidden gems from Hiroshima’s back-catalogue.
Both East and Providence are carefully crafted albums from Hiroshima, a multitalented band. They combined traditional Western and Asian instruments with the latest in musical technology on both East and Providence. This rested in Hiroshima’s innovative genre-melting sound that incorporated everything from ambient and avant-garde, to funk, fusion and jazz-funk, to pop, R&B and rock. There’s even diversions via electronic, New Age and tech-funk while Hiroshima incorporate elements of Asian and Japanese music to their music. Sadly, despite the music on East and Providence being of the highest quality, it failed commercially. For Hiroshima it was the end of an era.
Hiroshima left Epic after the commercial failure of their seventh album Providence. When they returned with their eighth album LA in 1994, they had signed to Qwest Records which was a join venture between Warner Bros and sixty-one year old Quincy Jones. Sadly, for Hiroshima, they never enjoyed the same success at Qwest Records than they had at Epic, which was where they enjoyed the most successful period of their long and illustrious career.
Of the five albums Hiroshima released on Epic, 1985s Another Place and 1987s Go critically were by far the most successful. However, East and Providence are two underrated and oft-overlooked hidden gems which features the multitalented Hiroshima at their most versatile as they flit between anthems-in-waiting to tender ballad and uptempo dance tracks.
Hiroshima-East and Providence.
BEST NEW ALBUMS OF 2017-PART 1.
Best New Albums Of 2017-Part 1.
At this time of year, the lists of the best albums of the previous year are published. This year, I’ve delved deep into the all the releases from 2017 and picked my 100 Best New Albums Of 2017.
1982-Chromola.
Label: Hubro Music.
Norwegian power trio 1982 celebrated their tenth anniversary with the release of their fifth album Chromola. It’s an almost flawless album that is a genre-melting roller coaster that sometimes, takes on a liturgical sound. That is no surprise as Chromola was recorded in a church. The result was a captivating, ambitious and innovative album of multilayered, cinematic soundscapes that are full of textures, nuances and subtleties whew 1982 they continue to rewrite the musical rulebook in their quest to create groundbreaking music. This succeed in doing do on Chromola, which is a career-defining album from 1982.
A Projection-Framework.
Label: Tapete Records.
Framework was formed in 2013 and in 2015, released their critically acclaimed debut Exit. Two years later and Stockholm based A Projection returned in 2017 with Framework their much-anticipated sophomore album Framework. It’s a fusion of eighties electronica, indie rock and post punk that has been influenced Depeche Mode, New Order, Siouxsie and The Banshees, The Cult and The Cure. These influences play their part in the sound and success of Framework hook-laden where anthems sit side-by-side with beautiful ballads and eighties inspired tracks.
Addictive TV-Orchestra Of Samples.
Label: K7!
Recording and producing Addictive TV’s debut album Orchestra Of Samples has been a labour of love for production duo Graham Daniels and Mark Vidler. They spent five years travelling far and wide, visiting over twenty-five countries to record with hundreds of local musicians to create the source material for Orchestra Of Samples. These recordings were then sampled by Addictive TV, and eventually, became part of Orchestra Of Samples. It’s an exchange of musical ideas that features musicians from five continents. who join Addictive TV, and achieve Unity Through Music, on Orchestra Of Samples, which features a myriad of master musicians, including The American and a Sitar Hero, who help weave this vibrant musical tapestry.
Alice Coltrane-World Spirituality Classics 1: The Ecstatic Music Of Alice Coltrane Turiyasangitananda.
Label: Luaka Bop.
All too often, Alice Coltrane is referred to as “John Coltrane’s wife.” However, Alice Coltrane was also a talented pianist and composer who later, became a spiritual leader. Sadly, the death of her soul mate affected Alice Coltrane so badly that she suffered sleepless nights and lost so much weight that she weighed just ninety-five pounds. Sometimes, Alice Coltrane experienced hallucinations and thought trees spoke, believed beings existed on astral planes, and the sounds of: “a planetary ether” spun through her brain, and knocked her into what was a frightening unconsciousness. Despite all this pain and suffering, Alice Coltrane was one of the finest exponents of Indian spiritual music in a Western context. Proof of this can be heard on World Spirituality Classics 1: The Ecstatic Music Of Alice Coltrane Turiyasangitananda which showcases a true musical visionary…Alice Coltrane.
Andreas Spechti-Thinking About Tomorrow, And How To Build It.
Label: Bureau B.
Not many people travel halfway around the world to record their debut album. However, Andreas Spechti decided to do so, and spent two months recording Thinking About Tomorrow, And How To Build It in Tehran. That was hugely risky, and at any time he risked arrest. Despite that, he spent his time fusing elements of electronica and contemporary dance music with avant-garde, ambient, experimental, improv, industrial, jazz and musique concrète. These genres are part of the carefully crafted and captivating musical tapestry that is Thinking About Tomorrow, And How To Build It, which will always be a reminder of the two month period that sonic explorer and adventurer Andreas Spechti spent in Tehran, during the winter of 2016/17.
Ane Brun-Leave Me Breathless.
Label: Balloon Ranger Recordings.
Ane Brun’s solo career began in 2003, and fifteen years later, she’s one of the most successful Norwegian singer-songwriters. Last year,Ane Brun, released her eighth studio album Leave Me Breathless which was an album of cover versions where she reinvents songs by Bob Dylan, Tom Petty, Nick Cave, Joni Mitchell, Lucinda Williams and songs made famous by Foreigner, The Righteous Brothers and Radiohead. These songs are transformed and take on new life and meaning as Ane Brun redefines these familiar songs Leave Me Breathless which is the best album of cover versions released during 2017.
Anneli Drecker-Revelation For Personal Use.
Label: Rune Grammofon.
Thirty-years after coming to prominence as the lead singer of the Norwegian band Bel Canto, Anneli Drecker released her fourth solo album Revelation For Personal Use. It’s a career defining album from Anneli Drecker that surpasses the quality of 2015s Rocks and Straws. That was never going to be easy as Rocks and Straws had set the bar high for future albums. However, the Queen of Arctic Electronica, Anneli Drecker, rose to challenge and returned with her musical Magnus Opus, Revelation For Personal Use, which features music that ranges from memorable and melodic, to anthemic to heartbreakingly beautiful.
Anouar Brahem-Blue Maqams.
Label: ECM Records.
When Blue Maqams was recorded in New York’s Avatar Studios in May 2017, Tunisian oud master Anouar Brahem was joined by a triumvirate of top improvisers Django Bates, Dave Holland and Jack DeJohnette. While the trio had collaborated many times over the past twenty years, Blue Maqams was a special album for Anouar Brahem. Blue Maqams.was his first album to feature a jazz rhythm section since 1995s Khomsa. With such prestigious players accompanying him, Anouar Brahem played with a newfound freedom. It was if he was being encouraged to new heights on Blue Maqams, which is a captivating, game-changing improv opus for oud master Anouar Bahem.
Astrid Kuljanic Transatlantic Exploration Company-Riva.
Label: One Trick Dog Records.
Riva is also a truly eclectic album that features eight tracks where the Astrid Kuljanic Transatlantic Exploration Company flit between jazz standards to Brazilian samba and Bossa Bova, to traditional Croatian songs from island paradise of Cres. Seamlessly, the versatile and talented Astrid Kuljanic Transatlantic Exploration Company switch between Caribbean and Brazilian beats and also soul-baring ballads and joyous uptempo romps. Regardless of whichever genre of music the Astrid Kuljanic Transatlantic Exploration Company is playing on their debut album Riva, they play with energy, immediacy and spontaneity on album where the music is beautiful, joyous, ruminative and uplifting.
Arve Henriksen-Towards Language.
Label: Rune Grammofon.
Pioneering Norwegian jazz trumpeter Arve Henriksen returned in 2017 with his ninth solo album Towards Language, which was described by some critics as a jazz album. However, Towards Language is much more than a jazz album, and is a genre-melting epic. Arve Henriksen and his band combined elements of ambient, avant-garde, with electronic, experimental, improv industrial music and even modern classical and free jazz. The result is a truly groundbreaking and thoroughly modern album where electronics instruments, samples and found sounds accompany Arve Henriksen’s trumpet and allow it to shine as he continues to make tomorrow’s music, today.
BEST NEW ALBUMS OF 2017-PART 2.
Best New Albums Of 2017-Part 2.
Ben Lukas Boysen and Sebastian Plano-Everything.
Label: Erased Tapes Records.
When it came for games designer David O’Reilly to commission composers to produce the score for Everything, he turned to German composers Ben Lukas Boysen and Sebastian Plano who were tasked with producing a sprawling four-hour, immersive soundtrack. This would provide the backdrop to a game about perspective and the interconnectivity of all life. To create the soundtrack to the game, Ben Lukas Boysen and Sebastian Plano drew upon their vast experience in creating stirring ambient soundscapes and evocative themes using a variety of acoustic and electronic sources. These are their musical palette, which they’ve put to good use over the years. That is the case on Everything, which showcases lush, ambient soundscapes where the music is ethereal, elegiac, rich in texture and cinematic. Ben Lukas Boysen and Sebastian Plano’s music sets both the gamer and the listener’s imagination racing, as they embark on journey that is Everything.
Bjorn Mayer-Provenance
Label: ECM Records.
Ever since Manfred Eicher founded ECM Records, his label had released many solo bass albums. However, until the release of Bjorn Mayer’s Provenance, ECM Records had never released an album where the electric bass takes centre-stage. The Swedish bassist, whose now based in Switzerland, recorded Provenance at the Auditorio Stello Molo RSI in Lugano. This was the perfect place to record a Provenance, as Bjorn Mayer knew the importance of the “room.” It proved extremely responsive space and helps bring out the subtleties and nuances in Bjorn Mayer’s landmark album Provenance which proves that sometimes, less is more.
Black Moon Circle-Flowing Into The 3rd Dimension
Label: Crispin Glover Records.
In mid-2015 Trondheim-based Black Moon Circle announced their intention to release three albums of Studio Jamms. Just over two years later, they returned with the final instalment in this critically acclaimed series, Flowing Into The 3rd Dimension. It’s another ambitious, genre-melting adventure into sound with Black Moon Circle, and is their hardest rocking and the finest album of their five-year career. Flowing Into The 3rd Dimension is a reminder that the future of rock is in safe hands, thanks to groups like Black Moon Circle, with their pioneering and hard rocking brand of psychedelic space rock.
Brockmann//Bargmann-Licht.
Label: Bureau B.
When Brockmann//Bargmann released their debut album Licht in 2017, this was the start of a new chapter for the duo. who had previously recorded together as Camera. Their influence can be heard on Licht. So can the influence of Brockmann//Bargmann’s contemporaries Ulrich Schnauss and Rival Consoles, plus Kluster, Cluster, Qluster, Harmonia, Neu! and Kraftwerk. However, for much of Licht, sonic pioneers Brockmann//Bargmann set about forging their own unique and inimitable sound on Licht. It finds Brockmann//Bargmann pushing musical boundaries on Licht, which an ambitious album of inventive, innovative and imaginative soundscapes.
Brian Eno-Reflection.
Label: Warp.
As 2017 dawned, Brian Eno described his latest album: “Reflection is the latest work in a long series.” He’s unsure when this series started. That is no surprise as Brian Eno has been a musical pioneers since the dawn of his career. Whether it was with Roxy Music, Fripp and Eno or when collaborating with Cluster and Harmonia he has created ambitious albums of innovative music. That is the case with Reflection, which features a fifty-four minute epic soundscape from ambient pioneer Brian Eno that offers time to reflect and ruminate.
Brutter-Reveal And Rise.
Label: Hubro Music.
Brothers Christian Wallumrød and Fredrik Wallumrød have both forged successful music careers since graduating from the Jazz Program at Trondheim Musikkonservatorium. Much of their time is spent working with other musicians. However, the brothers reunited to record Brutter’s sophomore album Reveal And Rise. Brutter manipulates an array of sounds whilst using sonic trickery and sleight of hands as they pose a series of questions and challenge musical norms? Brutter also let imagination run riot on Reveal and Rise, an album of anti-techno that is ambitious, cerebral, innovative, playful, witty and engaging.
Cakewalk-Ishihara.
Label: Hubro Music.
Three years after the release of Cakewalk’s critically acclaimed sophomore album Transfixed, the Norwegian supergroup returned in 2017 with their much-anticipated, third album, Ishihara. It finds musical mavericks Cakewalk at their innovative best, on what’s without doubt, their most ambitious album of carefully sculpted soundscapes. To create them, Cakewalk deploy traditional instruments, synths, plus a myriad of special effects and samples. They become part of Cakewalk’s carefully crafted musical tapestry, Ishihara. It’s a genre-sprawling, vibrant, cinematic epic from sonic explorers Cakewalk, who reach new heights on their much-anticipated third album Ishihara.
Carbon Based Lifeforms-Derelicts.
Label: Blood Music.
After a five-year wait, Göteborg-based ambient psychedelia pioneers Carbon Based Lifeforms returned with Derelicts, their carefully crafted comeback album. It featured soundscapes that veer between cerebral and ruminative while others are futuristic and otherworldly and dreamy, elegiac and ethereal. Some are dramatic and urgent, others edgy and trippy, but like the rest of are captivating cinematic. Sometimes, Carbon Based Lifeforms throw a curveball, and soundscapes head in unexpected directions, before normality is restored as they continue to take the listener on a lysergic magical mystery tour which features surprises aplenty for the unsuspecting listener.
Chip Wickham-La Sombra.
Label: Lovemonk Records.
While Chip Wickham’s career began twenty-five years ago, there was one thing he still had to do, release a debut album. This changed in early 2017, he released his long-awaited and much-anticipated debut album La Sombra. From the opening bars of La Sombra to the closing notes of La Leyenda Del Tiempo, Chip Wickham and a tight, talented band that feature some of Madrid’s top jazz musicians never miss a beat. They showcase their considerable talents on La Sombra, which was the much-anticipated debut album of one of Britain’s top reed men, Chip Wickham, as rekindles his love of jazz.
BEST NEW ALBUMS OF 2017-PART 3.
Best New Albums Of 2017-Part 3.
Cluster-Konzerte 1972-1977.
Label: Bureau B.
Although Cluster released seven studio albums between 1971 and 1979, they were also a legendary live band, whose marathon concerts usually lasted six hours or more. Sadly, Cluster never released a live album during the seventies. The nearest most people got to hearing Cluster live was when they heard Live In der Fabrik, a fifteen minute epic that featured on Cluster II in 1972. Since then, Cluster have never released an album of live material from the seventies. That was until the release of Konzerte 1972-1977, which features recordings from two Cluster concerts. These recordings are a tantalising reminder of what Cluster live in the seventies sounded like. Konzerte 1972-1977 is the musical equivalent of time travel, and transports the listener back to seventies, when Cluster was in their musical prime.
Conrad Schnitzler/Schneider-Con-Struct.
Label: Bureau B.
Just over five years after the death of Conrad Schnitzler, the fourth instalment in the Con-Struct series was released. This time, it was a collaboration between Conrad Schnitzler and Schneider TM. As collaborations go, it’s truly compelling and captivating project that resulted in an album of cinematic soundscapes. They were constructed by Schneider TM using sounds from Conrad Schnitzler’s vast archive that was assembled over four decades. Schneider TM delved deep into the archives in search of sounds and inspiration, and found plenty of both. These sounds were used to construct the fourth and best instalment of the Con-Struct series.
Danish String Quartet-Last Leaf.
Label: ECM Records.
Nowadays, the Danish String Quartet is regarded by many critics as the most exciting young string quartets in Europe, if not the world. They’ve been breathing new life and meaning into contemporary compositions and the classical repertoire. However, when the Danish String Quartet released their debut album Wood Works in 2014 it was a foray into Nordic folk music. So too, is the Danish String Quartet’s much-anticipated sophomore album Last Leaf. It’s another captivating and near flawless foray into the world of Nordic folk music from the Danish String Quartet who further enhanced their reputation on Last Leaf.
David Virelles, Ramon Diaz and Nosotros Ensemble-Gnosis.
Label: ECM Records.
Nowadays, Chilean composer and pianist David Virelles calls New York home. That was where he recorded Gnosis, at Avatar Studios in May 2016. It’s an album which was inspired by various cultures, and where David Virelles explores transculturation and traditions, and also the complexities of Cuban music. This includes the sacred, secular and ritualistic. However, the music on Gnosis could only have been written by a truly talented modern musician whose able to look at the music from an improviser’s point of view. His ability to do so, results in a fascinating album where David Virelles sees the musicians as “several families functioning within one unit: this dynamic symbolises multicultural interaction.” This is interesting, ambitious, exciting and thought-provoking concept and an exceptional album of improv.
Der Plan-Unkapitulierbar.
Label: Bureau B.
Last year, Der Plan embarked upon the next chapter of a story that began in 1979, when the band was formed. By 1992, the three members of Der Plan found that their business was taking up so much of their time, that it was overshadowing their music. Sadly, Der Plan never released another album until 2017, when they returned after a twenty-five years with Unkapitulierbar It’s magical mystery tour, where the music veers between melodic and memorable to dark and dramatic to dreamy and lysergic. Other times, it’s dubby, otherworldly and cinematic. Always though, the music is ambitious, and it’s impossible to second guess Der Plan. They throw curveball and spring surprises during Unkapitulierbar which marks the welcome return of comeback kings Der Plan.
Dieter Moebius-Musik für Metropolis.
Label: Bureau B.
After Dieter Moebius was invited to perform music to accompany a screening of Fritz Lang’s legendary silent film Metropolis, he decided to record a full-length album featuring the music from the Metropolis project. Recording began in 2012, but wasn’t completed by the time of Dieter Moebius’ death in 2015. That wasn’t the end of the project, and three of Dieter Moebius’ friends completed Musik für Metropolis. They played their part in soundscapes that were atmospheric, dramatic, futuristic, melodic, menacing, mesmeric, poignant and full of tension. Always the filmic music on Musik für Metropolis captivates and compels as Dieter Moebius paints pictures with music.
DJ Vadim and Blackstone–Double Sided
Label: BBE.
Just three years after Blackstone made her debut on DJ Vadim’s Dubcatcher album, the pair have equal billing on Double Sided. This is reminder of why Blackstone is regarded as one of music’s rising stars. Proof if any was needed is Double Sided, where Blackstone’s vocals veer between traditional soul and Nu Soul. Meanwhile, DJ Vadim leashes an array of drum machines, synths and guitars, which are augmented by guest artists. They play their part in the sound and success of Double Sided which is without doubt one of DJ Vadim’s best albums. The reason for this is the addition of Katrina Blackstone, who steps out of the shadows and takes centre-stage and plays a starring role on Double Sided, the much-anticipated collaboration between DJ Vadim and Blackstone.
Eberhard Kranemann and Harald Grosskopf-Krautwerk.
Label: Bureau B.
Although Eberhard Kranemann and Harald Grosskop are now two of German music’s elder statesmen, Krautwerk shows that they’re still capable of creating ambitious, innovative and genre-melting music. It veers between anthemic, joyous uplifting, to dark, moody and broody, and other times dramatic, futuristic and mesmeric. Krautwerk is also psychedelic, cinematic and always captivates as contemporary and futuristic music combine. Sometimes, Eberhard Kranemann and Harald Grosskopf make the music of tomorrow, today on Krautwerk, an album of carefully crafted cinematic soundscapes.
Eivind Opsvik-Overseas V.
Label: Loyal Label.
When Eivind Opsvik returned with Overseas V last year, it was an ambitious, inventive, innovative and genre-melting music. He was accompanied by his band Overseas as they fused disparate musical genres including everything from avant-garde and art rock to free jazz funk and fusion and even, post punk and progressive jazz. The result was a captivating musical journey where the soundscapes are concise and immediate. They’re also atmospheric, edgy, challenging, melodic, hook-laden and rhythmic. While rhythm is more important than melody and atmosphere on Overseas V, the music is still cinematic on what’s Eivind Opsvik’s finest hour.
Erik Honoré-Unrest.
Label: Hubro Music.
Although Erik Honoré’s career has spanned four decades, he only released his debut album Heliographs in 2014. Three-years later, and Erik Honoré returns with his eagerly awaited sophomore album Unrest. It’s another ambitious album of imaginative, innovative and influential music as befits one of the leading lights of the Norwegian music scene. However, Erik Honoré reaches new heights on Unrest, which is a captivating album which feature a mixture of intensity, darkness, drama, emotion and ethereal beauty, that sometimes, features a ruminative sound that invites reflection as one of Norwegian music’s pioneers, paints pictures with his cinematic soundscapes.
BEST NEW ALBUMS OF 2017-PART 4.
Best New Albums Of 2017-Part 4.
Erland Dahlen-Clocks.
Label: Hubro Music.
When Erland Dahlen recorded his third solo album Clocks, he followed in the footsteps of American composer, music theorist and creator of bespoke musical instruments Harry Partch. He successfully transformed everyday items into musical instruments and inspired Erland Dahlen when he came to record Clocks. It’s a genre-meting album that veers between dark and dramatic, to elegiac and ethereal, to eerie, futuristic, haunting and otherworldly. Other times, the music is evocative, before becoming emotive and uplifting and sometimes, ruminative and thought-provoking. Quite simply, Clocks is a breathtaking album of atmospheric cinematic soundscapes from sonic pioneer, Erland Dahlen
Erlend Apneseth-Nattsongar.
Label: Heilo.
Back in 2016, Erlend Apneseth who is one of Norway’s top Hardanger fiddle players, was commissioned to write the music that became Nattsongar, for the Førde Festival. When it came time for Erlend Apneseth to record his sophomore album, he decided to take the music on Nattsongar much further. The result was an ambitious and eclectic album where Erlend Apneseth and a band of top musicians, drew inspiration from folk music from all over the globe. In dong so, Erlend Apneseth concentrates on the commonality, rather than the differences between music on Nattsongar which is enchanting and engaging album.
Erlend Apneseth Trio-Åra.
Label: Hubro Music.
Just a year after the Erlend Apneseth Trio released their critically acclaimed debut album Det Andre Rommet, they returned with their sophomore album Åra. It’s another album of original music that is an almost perfect improvised update of the post modern string trio. This is no surprise, as the Erlend Apneseth Trio feature master musicians who have dedicated their lives to the pursuit of musical perfection. They come tantalizingly close on Åra, which is another groundbreaking album of inventive, and imaginative music from a pioneering group of like-minded musicians that sets the bar high for future albums.
Esmark-Māra I and Māra II.
Label: Bureau B.
What do Esmark have in common with musical luminaries like Frank Zappa, Tom Waits, Guns N’ Roses and Bruce Springsteen? They also released two albums on the same day. When Esmark released their two albums Māra I and Māra II, they showcased the considerable talents of Nikolai von Sallwitz and Alsen Rau who had formed a formidable partnership. Together, they had created inventive, innovative soundscapes that veered between dark, eerie, haunting, moody, ominous and otherworldly., to understated and minimalistic. Other times, they take on a mesmeric or hypnotic quality and occasionally, become ethereal, wistful and ruminative, and as a result, invites reflection. Always, though, Esmark’s cinematic soundscapes on Māra I and Māra II captivate and compel.
Faust-Fresh Air.
Bureau B.
A new album by Faust album has always been something to celebrate, and Fresh Air is no different. It features sonic explorers Faust continuing to combine disparate musical genres and the push musical boundaries to the limits. To do this, Faust enlist a few friends who help them fuse disparate musical genres. Everything from avant-garde, electronica, and experimental music, to industrial, Krautrock and modern classical through to Musique Concrete, rock and space rock. The result is Fresh Air another album of groundbreaking soundscapes from Faust which is without doubt, one of their finest albums of recent years. Fresh Air is also the perfect introduction to Faust, who are greatest bands of the Krautrock era.
Fazerdaze-Morningside.
Label: Grönland Records.
New Zealand’s latest musical export Amelia Murray a.k.a. Fazerdaze, released her carefully crafted debut album Morningside. It’s an album of dream pop that quite simply, oozes quality. However, there’s much more to Morningside than just dream pop. There’s also elements of indie pop, indie rock, electronica and even grunge on Morningside. It’s a melodic and memorable album, where the hooks certainly haven’t been rationed as some songs head into anthem territory. In doing so, Morningside showcased Fazerdaze’s considerable skills on her debut album which she hopes is the start of long and successful career.
\Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums).
Label: BBE.
Gabriele Poso Presents The Languages Of Tambores (A Spiritual Journey Through The Cultural Heritage Of Drums) is best described as the musical equivalent of Homeric odyssey. It began in Britain before master percussionist and drummer Gabriele Poso heads to Nigeria, then to his homeland of Italy, where his musical career began. From there, he heads to Columbia and Brazil, before returning to Nigeria, and heeding to America, Cuba and finally Ghana. Soon the listener is Coming Home from an unforgettable and captivating musical journey. During that journey, the music veers between beautiful and soulful to emotive and evocative and even visceral, mesmeric and lysergic. Other times, the music on Gabriele Poso’s masterful musical odyssey is irresistible, melodic, memorable and akin to a call to dance.
Gary Peacock Trio-Tangents.
Label: ECM Records.
When the Gary Peacock Trios recorded Tangents, its leader had nearly sixty-five years of experience under his belt. The veteran double-bassist was joined by drummer Joey Baron and pianist Marc Copland as they embarked upon the session that resulted in Tangents. That day, eighty-two year old bandleader Gary Peacock drew upon all his experience as he encouraged and cajoled his band as they experimented and pushed musical boundaries. By then, the Gary Peacock Trio were playing with a newfound freedom and invention which resulted in one of the best piano trio albums of recent years, Tangents.
BEST NEW ALBUMS OF 2017-PART 5.
Best New Albums Of 2017 Part 5.
Gjermund Larsen Trio-Salmeklang.
Label: Heilo.
To mark the tenth anniversary of the Gjermund Larsen Trio, they return with their fourth album Salmeklang. Just like previous albums, bandleader Gjermund Larsen writes most of the music on Salmeklang. The result is an album where the music is atmospheric, melodic album and benefits from an intimacy and sensitivity. It’s as if Gjermund Larsen knows exactly what the listener wants to hear and sets out to deliver it. This he succeeds on doing so on Salmeklang, which is the highpoint of the Gjermund Larsen Trio’s career so far.
Gonimoblast-Gonimoblast Live.
Label: Stoney Lane Records.
When London and Midlands five-piece electronica band Gonimoblast released their Gonimoblast Live in the summer of 2017, it featured two special guests Norwegian musical pioneers Arve Henriksen and Maja S.K Ratkje. They play their part in the sound and success of Gonimoblast Live, where electronica, jazz and improv are combined by seven multitalented musicians. They create Gonimoblast Live, which is captivating live album where the music is ambitious, adventurous and sometimes, mysterious, as subtleties and surprises are revealed on this truly groundbreaking album.
Goran Kajfeš Subtropic Arkestra-The Reason Why Volume 3.
Label: Headspin Recordings.
It was back in 2013 when the Goran Kajfeš Subtropic Arkestra released the first instalment in The Reason Why trilogy. Four years later came The Reason Why Volume 3 which was the most ambitious and eclectic volume in the series. It found the Goran Kajfeš Subtropic Arkestra fusing free jazz, fusion, jazz and rock with avant-garde, experimental and African music on this eclectic, genre-melting album of cover versions. Goran Kajfeš Subtropic Arkestra had kept the best until last and reached heights on The Reason Why Volume 3 which is a triumphant ending to this memorable trilogy.
Hanne Hukkelberg-Trust.
Label: Propeller Recordings.
Hanne Hukkelberg’s fifth album Trust is without doubt the most cerebral and thought-provoking album of her career. It’s also an album that is based on the Norwegian singer-songwriter’s own personal experience and observations. They played their part in the reinvention of Hanne Hukkelberg on Trust, which is a cerebral and thought-provoking album that features melodic, memorable, anthemic and hook-laden music. Trust is also a very personal album from Hanne Hukkelberg that features beautiful, poignant music from the one of Norway’s most innovative and influential singer-songwriters who constantly seeks to reinvent her music.
Hakon Stene and Kristine Tjogersen Michael Pisaro-Asleep, Street, Pipes, Tones.
Michael Pisaro’s Asleep, Street, Pipes, Tones’ is a quite beautiful electro-acoustic composition which features seventeen short movements lasting just over an hour. It was reinterpreted and recreated with care and accuracy by Håkon Stene and Kristine Tjøgersen, who create what’s akin to a partially frozen sonic world where even the smallest shifts of emphasis in an otherwise glacial rate of change appear to take on the dramatic status of major events. Meanwhile, the listener reflects on how humans receive and capture sound and music, during this thought-provoking electro-acoustic piece.
Havenaire-Rabot.
Label: Glacial Movements,
When John Roger Olsson a.k.a. Havenaire, released his sophomore album Rabot, the album cover featured two photographs by Swedish geographer Fredrik Enquist from 1910. These images inspired Havenaire to record one of the finest ambient albums of 2017, which features a cinematic sound that is rich in imagery. Suddenly the listener is standing alongside Fredrik Enquist and seeing the terrain as he sees it. This is only possible because of the music on Rabot, which is Havenaire’s stunning sophomore album, and an ambient arctic opus which showcases his cinematic sound that is rich in ethereal beauty and imagery.
Inna De Yard-The Soul Of Jamaica.
Label: Chapter Two Records.
Two generations of musicians spent four days recording The Soul Of Jamaica at Kiddus I’s studio, high above Kingston. It features song that veer between beautiful, melodic and memorable to powerful, spiritual and thought-provoking as artists discuss the social problems that blight not just Jamaica, but the wider world. These morality tales come filled with a powerful and positive message. This adds to the poignancy of the music on what’s one of the finest reggae albums of recent years, The Soul Of Jamaica. It’s imbued with the Rastafarian spirit and soulfulness as eleven artists spread messages of love, harmony, positivity and togetherness.
Irabagon, Hegre and Drønen-Axis.
Label: Rune Grammofon.
It’s nearly five years since the Norwegian-American trio of Irabagon, Hegre and Drønen first collaborated in Berlin in June 2013. Since then, they’ve released their debut album Axis where they combine elements of avant-garde, experimental, free jazz, fusion, improv, noise and post rock on what’s an ambitious, challenging and innovative album. It finds the Norwegian-American trio play with freedom and inventiveness as the two lengthy tracks take countless twists and turns. However, never try to second guess Irabagon, Hegre and Drønen who are at their creative zenith on Axis.
Irene Tillung-Hildersyn.
Label: Heilo
During her career so far, accordionist Irene Tillung has worked as a musician, composer and arranger. More recently, though, she’s been studying film music scoring. Still, she found time to record a concept album Hildersyn that featured brand new music that was played by top folk, jazz and classical musicians. They combined to create a beautiful, distinctive and enchanting album of playful music.
Jan Erik Mikalsen: Saan.
Label: Aurora.
During 2017, Jan Erik Mikalsen emerged as one of the rising stars of the Norwegian contemporary music scene when he wrote the music on Saan. It features three impressive orchestral works which were interpreted by the Oslo Philharmonic and they Norwegian Radio Orchestra. These pieces are rich in texture and imagery and unmistakably Nordic in sound. Saan is also melodic and full of dramatic crescendos thanks to the combined talents of the Oslo Philharmonic and Norwegian Radio Orchestra.
Jonas Johansen-Charmcatcher.
BEST NEW ALBUMS OF 2017-PART 6.
Best New Albums Of 2017 Part 6.
Jon Balke and Siwan-Nahnou Houm.
Label: ECM Records.
Eight years after releasing their debut album Norwegian keyboardist, composer and arranger Jon Balke and Siwan return with Nahnou Houm, which marks the debut of the new lead singer Mona Boutchebak from Algeria. She joins a multitalented band and plays a starring role on this thought-provoking album where Jon Balke wonders how Europe and the rest of the world have developed if Islam, Judaism, and Christianity had managed to coexist in the aftermath of Al-Andalus? Drawing upon their western, oriental and northern African musical heritage and using electronics on Aun Bebiendo, Jon Balke and Siwan seeks answers to this question on this compelling and cerebral album, that delves deep into history.
Jonas Johansen-Charmcatcher.
Label: DME.
Many record buyers know Danish composer and drummer Jonas Johansen from his work with Band Mrazem, Danish Radio Big Band, Emborg Larsen Quintet, Fredrik Lundin Overdrive and Groove Factor. They’re just a few of the bands Jonas Johansen has played with over the years. Despite his busy schedule, Jonas Johansen is a successful solo artist who released his latest album Charmcatcher in 2017. This carefully crafted jazz album, which features The Flyover, Taa-Daa and Portrait, is another reminder of a truly talented and composer and drummer whose music deserves a much wider audience outside of his native Denmark.
Katharina Grosse and Stefan Schneider-Tiergarten.
Label: TAL.
It took Katharina Grosse and Stefan Schneider two years to record Tiergarten. That was definitely two years well spent. They’ve created a truly groundbreaking album where they push musical boundaries to their limits, and sometimes, beyond. That is despite limiting themselves to a small selection of vintage analog synths. They’re responsible for soundscapes that veer between atmospheric, to dark and eerie to menacing and moody. Sometimes, the music is cerebral, thoughtful, thought-provoking and ruminative on Katharina Grosse and Stefan Schneider’s genre-melting musical opus, where the two old friends take the listeners on a magical mystery tour through Tiergarten.
Ken Boothe-Inna de Yard.
Label: Chapter Two Records.
Twenty-five years after Ken Boothe released his last international album, the veteran singer returned with Inna de Yard, which was the latest instalment in Chapter Two’s unplugged reggae series. It finds Mr. Rocksteady working his way through eleven of his best known songs from the sixties, seventies and eighties. In doing so, Ken Boothe reinvents eleven familiar songs, and in doing so, breathes new life, meaning and emotion into them, to create his best album in three decades, Inna de Yard.
Kjetil Mulelid Trio-Not Nearly Enough To Buy A House.
Label: Rune Grammofon.
In his native Norway, Kjetil Mulelid is regarded as one of jazz music’s rising stars. That is no surprise to anyone who has heard the Kjetil Mulelid Trio’s debut album Not Nearly Enough To Buy A House. It’s an album where the music is absorbing, atmospheric, bright, energetic, innovative music and melodic. Sometimes, though, the music becomes challenging as the Kjetil Mulelid Trio showcase their considerable skills. However, Not Nearly Enough To Buy A House is also a tantalising taste of a band with a big future ahead of them, the Kjetil Mulelid Trio.
Kondi Band-Salone.
Label: Strut.
The story behind the Kondi Band’s album Salone is a heartening one, and one that could only have happened in the internet age. Sorie Kondi is a blind street musician who plays the thumb piano in the streets of Freetown, Sierra Leone. Often locals and tourists stop to listen to him play, and many come away clutching copies of his cassette albums. By then, they’ve discovered through talking to Sorie Kondi, whose a sociable, engaging and interesting man who has his own website. This website was where an American DJ and producer DJ Chief Boima made contact with Sorie Kondi, and eventually lead to the release of the Kondi Band’s album Salone. It featured DJ Chief Boima and Sorie Kondi, who are from very different backgrounds and bonded over their shared love of music. Together they play their part in the Kondi Band’s captivating, thought-provoking and uplifting album of create genre-melting, multicultural music, Salone.
Kreidler-European Song.
Label: Bureau B.
European Song was inspired by the changing political climate in Europe and America, at the end of 2016. This resulted in a very different album to the one Kreidler began to record in Mexico City. It was replaced by European Song, which featured what’s described as five “apocalyptic soundscapes.” They’re thought-provoking and full of social comment, and sometimes dark, dramatic with an immediacy and urgency. There’s also a ruminative sound to European Song that invites reflection at the change in the political landscape Europe and America. This Kreidler document on the five genre-melting soundscapes on European Song, where they reach new musical heights.
Krokofant-Krokofant III.
Label: Rune Grammofon.
When Krokofant released their eponymous debut album in 2014, they were regarded as one of the rising stars of the Norwegian music scene. Three years and two albums later, critics are calling Krokofant one of the most exciting and innovative Norwegian groups. Proof of that is Krokofant III where Krokofant push musical boundaries, and constantly seek to reinvent themselves and their music. In doing so, they’ve created Krokofant III, which is a groundbreaking, genre-melting album and magnificent musical Magnus Opus.
Laraaji-Bring On The Sun and Sun Gong.
Label: All Saints Records.
2017 saw the return of several artists, including veterans zither virtuoso Laraaji, who released a double album that showcases his sheer versatility. There’s blissful percussive jams, trance-inducing drones and thoughtful hymnals that feature Laraaji’s vocals. The result is a majestic album from the New York based musician, mystic and laughter meditation practitioner that is the perfect introduction to a true giant of ambient music.
Laurence Crane/Asamisimasa-Sound Of Horse.
Label: Hubro Music.
Laurence Crane and Asamisimasa’s partnership began in 2008, when they premiered White In Berlin at the Ultima festival in Oslo. Nine years later, they released Sound Of Horse which is album of Laurence Crane compositions. In Asamisimasa’s hands, these compositions become cinematic, dramatic, inventive, innovative minimalist and urgent. The music on Sound Of Horse is also ambitious and sometimes challenging, but continually captivates and sometimes, surprises the listener. Especially, when Asamisimasa throw a curveball and change direction musically as they continue in their mission to introduce Laurence Crane’s music to a much wider audience.
BEST NEW ALBUMS OF 2017-PART 7.
Best New Albums Of 2017 Part 7.
Linda Perhacs-I’m A Harmony.
Label: Omnivore Recordings.
Three years after releasing her long-awaited and much-anticipated sophomore album The Soul of All Natural Things in 2014, the Queen of psychedelic folk Linda Perhacs returns with I’m A Harmony. It’s a flawless genre-melting album that veers between ambient and atmospheric to bewitching to beautiful, to cinematic and cerebral, right through to elegiac and ethereal. Other times, the music on I’m A Harmony is melodic and memorable and other times, poignant and powerful. I’m A Harmony marks the return of the Queen of psychedelic folk with a genre classic in-waiting I’m A Harmony, which is a fitting follow to Linda Perhacs’ two previous flawless cult classics, Parallelogram and The Soul Of All Natural Things.
Lusine Grigoryan-Komitas: Seven Songs.
Label: ECM Records.
When the Gurdjieff Ensemble recorded their critically acclaimed album of Komitas’s music at a session in 2015, Armenian pianist Lusine Grigoryan found time to record his solo album Komitas: Seven Songs. When it was released in 2017, some critics saw the two albums as companion pieces. There’s certainly some duplication of material, although Lusine Grigoryan takes a very different approach. It’s just her lone piano interprets the music on Seven Songs, but still she captures the essence of Komitas’ music. Her playing veers between lively and vibrant to melancholy and mournful, to mysterious and ruminative. Other times, there’s a pastoral sound on Komitas: Seven Songs which features a piano masterclass from Lusine Grigoryan.
Marius Neset-Circle Of Chimes.
Label: Act
For many critics, composer and saxophonist Marius Neset has been seen as the natural heir to Jan Garbarek for the last couple of yeas. That is no surprise as Marius Neset is a talent saxophonist and composer. Proof of that is his latest album Circle Of Chime where he leads his usual quartet on an album where he plays with power, intensity and intricacy. Sometimes he showcases a bluesy, romantic sound before switching to a swinging, post bop sound. In doing so, Marius Neset showcases the difference sides of his music on Circle Of Chime. It’s an incredibly personal and cohesive album that captivates from the opening bars to the closing notes.
Michael Chapman-50.
Label: Paradise of Bachelors.
Ever since the sixties, Michael Chapman has been a stalwart of the British folk scene. He was a contemporary of John Martyn and Fairport Convention and played alongside Simon and Garfunkel during the early days of his career. By the seventies, Michael Chapman was releasing some of the best album of his career, which sadly failed to find an audience. As a result, he concentrated on playing live, but still recorded albums for his burgeoning fanbase. It continues to grow as Michael Chapman released 50 in 2017, where he celebrated fifty years making music. Despite now being a veteran, Michael Chapman rolls back the years on 50, which features relatively understated arrangements, which prove the perfect accompaniment to his languid, laid-back vocal and celebrates fifty not out.
Michael Mantler-Comment C’est.
Label: ECM Records.
Previously, trumpeter and composer Michael Mantler was one of the leading lights of abstract music scene. This changed when he realised that he was: ”no longer able to ignore overwhelming and outrageous recent world events.” He wanted to deal with he decided to deal with contemporary evils head-on in Comment C’est, and especially: “the all-pervading environment of hatred, greed and corruption. Michael Mantle wrote ten new songs which were sung by French-born singer Himiko Paganotti. She brings to life lyrics that deal with subjects like poverty, migration, terrorism and war on what’s a truly powerful and thought-provoking album, where Michael Mantler becomes jazz’s conscience.
Mogwai-Every Country’s Sun.
Label: Rock Action Records.
Every Country’s Sun marks the triumphant, rocky and explosive return of the Mogwai Young Team. Three years have passed since they released their eighth studio album Rave Tapes in January 2014. Over three years later, and Mogwai return with Every Country’s Sun an epic album that is poppy, joyous and uplifting and sometimes, elegiac and ethereal. Other times, the music is dark, dramatic, eerie, moody, ominous and otherworldly. Often, there’s a cinematic sound to Mogwai’s music, as they switched seamlessly between and combine musical genres and influences on Every Country’s Sun. It marks the welcome return of grand old men of Scottish music, the Mogwai Young Team who put their twenty-two years of experience on this carefully crafted opus.
Motorpsycho-The Tower.
Label: Rune Grammofon.
When Motorpsycho released The Tower in 2017, it marked the debut of Tomas Järmyr, who became Motorpsycho’s fourth drummer in the band’s twenty-eight year history. He played his part in the creative birth of creative rebirth of Motorpsycho, and ensured that their vintage period that began in 2008 continued on The Tower. It’s an album that veers between Motorpsycho’s traditional hard rocking sound to a much more mellow, laid-back sound. This is quite different to previous albums, but resulted in The Tower Motorpsycho latest critically album giving the group their sixteenth top ten album in their native Norway.
Mustafa Ozkent-Funk Anatolian.
Label: Hammer Music.
Funk Anatolian marks the welcome, and long overdue return of the legendary Turkish guitarist Mustafa Ozkent. He’s remembered for the music he recorded during the seventies, which was the most fruitful and prolific period of his career. Especially his 1973 instrumental album of experimental, cosmic funk Genclik Ile Elele. Forty-four years later, and Mustafa Ozkent returned with Funk Anatolian where his seventies sound is given a makeover for the new millennia on another album of instrumentals. Always Mustafa Ozkent’s guitar is to the fore, its crystalline, exotic, searing, blistering and fuzzy sound taking centre-stage on Funk Anatolian a glorious album of Anatolian funk, from a true virtuoso.
Nadine Khouri-The Salted Air.
Label: One Flash Records.
When London-based British-Lebanese singer-songwriter Nadine Khouri decided to record her long-awaited sophomore album The Salted Air, she teamed up with producer John Parish. He guided Nadine Khouri as she recorded The Salted Air, which is an album of beautiful, meditative, melancholy and sensuous dreamscapes that had been inspired by the Cocteau Twins, Mazzy Star and Jerry Burns. They’ve influenced The Salted Air which marks the musical the coming of age of extraordinary talented singer-songwriter Nadine Khouri.
Nils Økland Band-Lysning.
Label: Hubro Music.
Three years after releasing their debut album debut album Kjølvatn in 2014, the Nils Økland Band returned with their eagerly awaited sophomore album Lysning. It’s a genre-melting opus which veers between a liturgical sound to dark, dramatic and dreamy, to beautiful, and cinematic. Lysning is also enchanting, ethereal, emotive, evocative and full of imagery. Other times, the music on Lysning is rueful, wistful, poignant and guaranteed to tug at the listener’s heartstrings. Lysning is also an album that Nils Økland has spent a lifetime working towards, and is a career-defining innovative Magnus Opus that that showcases the Nils Økland Band’s unique and imitable genre-melting sound.
BEST NEW ALBUMS OF 2017-PART 8.
Best New Albums Of 2017-Part 8.
Nordic Circles-Under The Clouds.
Label: AMP Music and Records.
Over the last few years, the Scandinavian jazz scene has been enjoying another golden period. Proof of that is Nordic Circles which is a relatively new Norwegian jazz project whose raison d’être is to create unique jazz recordings where well-known and young up-and-coming musicians from the Nordic jazz genre collaborate. The first in this series was Winter Rainbow, with Under The Clouds the much-anticipated followup. It features a multitalented band who create music that veers between groove-oriented workouts to, loose, thoughtful and meditative tracks to beautiful, atmospheric ballads that feature Siril Malmedal Hauge’s vocals. She plays an important part in the sound and success of Under The Clouds, which showcases the truly talented Nordic Circles which features stars of today and tomorrow.
Olli Ahvenlahti-Thinking, Whistling.
Label: We Jazz.
Previously, Olli Ahvenlahti has been a mainstay of the Finnish jazz scene and has also written scores to several comedy films and been the conductor of the Finnish Eurovision orchestra. That would have been more than enough for most musicians. Still though, Olli Ahvenlahti found time to launch a new trio with trumpeter Markku Johansson and bassist Pekka Pohjola. Their debut album is Thinking, Whistling, which flits between musical genres as the music veers between engaging, funky, ruminative and thoughtful. Sometimes, there’s a degree of humour on Thinking, Whistling, which features the welcome debut of Olli Ahvenlahti’s new trio.
Orchestre Les Mangelepa-Last Band Standing.
Label: Strut.
Ten years after the Orchestre Les Mangelepa released their last album Golden Voices, Africa’s top big band made a welcome return with Last Band Standing in the autumn of 2017. Incredibly, Last Band Standing is the Orchestre Les Mangelepa first album in their forty-one year history to receive an international release. Somewhat belatedly the rest of the world has the opportunity to discover one of African music’s best kept secrets, and greatest big band, Orchestre Les Mangelepa, on Last Band Standing.
Paul Brady-Unfinished Business.
Label: Proper Records.
When veteran Irish troubadour Paul Brady made a welcome return with eleventh album Unfinished Business in 2017, this was his first studio album since 2010s Hooba Dooba. Unfinished Business is a reminder of what seventy year old Paul Brady is capable of musically. Unlike some of his contemporaries, whose best days are behind them, Paul Brady is still capable of writing poignant, emotive and beautiful ballads which he brings to life with a voice that sounds as if it’s lived, loved and survived the lyrics. That is no surprise, as balladry is what Paul Brady has always done best since he reinvented himself on Hard Station in 1981. Thirty-six years and nine albums later, and Paul Brady is still one of Ireland’s top troubadours, but sadly one of music’s best kept secrets beyond the Emerald Isle.
Phonophani-Animal Imagination.
Label: Hubro Music.
Animal Imagination is the first solo album from Espen Sommer Eide’s occasional musical moniker since Kreken in 2010, and has been worth the seven-year wait. It’s an album of ambitious, imaginative and innovative music where Phonophani uses sonic trickery and sleight of hand as he deploys a variety of traditional and bespoke instruments. They became part of his musical arsenal on Animal Imagination, which is a truly innovative and ambitious genre-melting album. This what what’s expected from one of the leading lights and pioneers of the Norwegian music scene, Phonophani, on his comeback album Animal Imagination.
Raoul Bjorkenheim-Doors Of Perception.
Label: Cuneiform.
Doors Of Perception was the third album by guitarist and composer Raoul Bjorkenheim and his band Ecstasy, which features some of the talented and innovative Finnish musicians. This all-star band have accompanied Raoul Bjorkenheim for the past seven-years and as a result, are at the peak of their powers on Doors Of Perception. Drawing inspiration from John Coltrane, Jimi Hendrix, Henry Kaiser, John McLaughlin, Hedvig Mollestad Trio and Terje Rypdal they fuse elements of fusion and improv on Doors Of Perception which is a career-defining epic.
Reflections In Cosmo-Reflections In Cosmo.
Label: RareNoise Records.
When the latest Nordic supergroup Reflections In Cosmo released their eponymous debut album in early 2017, there was one thing missing…a bassist. This should’ve left a gaping hole. However, here was an album that featured exciting, ambitious and imaginative genre-defying music.Reflections In Cosmo’s playing was uncompromising and spontaneous, as they flit between and combine fusion, improv and rock on what’s one of the best debut albums of 2017.
Richard Pinhas-Reverse.
Label: Bureau B.
Many record buyers will remember Richard Pinhas as the leader of French space-rock pioneers Heldon, who released seven albums during the seventies. Richard Pinhas then released five solo albums before deciding to take a break from music in 1982. That break lasted six years, and by the nineties, Richard Pinhas had reach his previous heights as collaborated with some major names. However, in 2017 Richard Pinhas released Reverse, the album that under different circumstances could’ve been his swan-song. Thankfully, that isn’t the case and a newly reinvigorated Richard Pinhas draws inspiration from Nietzsche, Jimi Hendrix, Kabbalah, Thomas Pynchon’s Gravity’s Rainbow and David Bowie on Reverse, which is a truly compelling, genre-melting album where everything from drone and experimental music has been seamlessly and successfully combined with space rock.
Roedelius-Einfluss.
Label: Deutsche Grammophon.
When legendary German musician Hans-Joachim Roedelius formerly of Kluster, Cluster and Harmonia, and currently leading Qluster recorded Einfluss, he was joined by Berlin-based pianist, electro producer and mastering engineer Arnold Kasar. He plays a supporting role as Roedelius seems to draw inspiration from Chick Corea’s equally enchanting Children’s Songs. Later in the recording session, Arnold Kasar suggested laying down sheets of felt on the piano keyboard. This transforms the sound produced by the grand piano. Suddenly, the felt adds a thick thudding sound to each note. It’s as if eighty-three year old Hans-Joachim Roedelius can’t resist innovating, which he’s spent a lifetime dong, and continues to do on Einfluss which is a fusion of ambient,experimental and modern classical.
Ron Kadish-Tales From Under.
Label: Self-Released.
When bassist Ron Kadish dropped out of graduate school in 1993 and embarked upon a career as a freelance musician this could’ve been the biggest mistake of his life, and a decision he lived to regret. Fortunately, this throw of the dice paid off, and Ron Kadish’s life has revolved around music ever since. This included releasing his long-awaited and much-anticipated debut album, Tales From Under with a little help from his friends last year. They provide the backdrop for Ron Kadish on his ambitious, innovative and genre-melting debut album Tales From Under, which is guaranteed to engage the listener as they embark on a bewitching musical adventure.
BEST NEW ALBUMS OF 2017-PART 9.
Best New Albums Of 2017-Part 9.
Schneider-Kacirek-Radius Walk.
Label: Bureau B.
In 2017, two of the leading lights of the German music scene Schneider-Kacirek returned with their sophomore album Radius Walk. It features Sonia Jernberg on three soundscapes, which was something of a masterstroke, as she’s a truly talented singer who has honed her own inimitable style. Sonia Jernberg’s vocals are part of Schneider-Kacirek’s extensive musical palette which features traditional instruments and technology. They all play their part on the sound and success of Radius Walk’s captivating and compelling cinematic sound, that is guaranteed to set the imagination racing during what’s akin to musical voyage of discovery, which is full of twists and turns, and subtleties and surprises aplenty.
Simrit-Songs Of Resilience.
Label: Simrit Kaur Music
When Simrit released her fifth album, Songs Of Resilience, this carefully crafted album proved to the finest album of her career. No wonder, as it features music that veers between dreamy, elegiac and ethereal to haunting, mesmeric, meditative and spiritual. Sometimes, the mantras on Songs Of Resilience veer between inspiring and uplifting to melancholy, poignant and wistful. Other times, the songs are ruminative and invite reflection. Often, they’re cerebral and thought-provoking. Always though, the music on Songs Of Resilience are memorable, melodic and proves to be captivating, compelling and beautiful. That is why Songs Of Resilience is a powerful, career-defining album from Simrit, whose a truly talented singer, songwriter and musician.
Sky Music: A Tribute To Terje Rypdal.
Label: Rune Grammofon.
To celebrate the career of Terje Rypdal and to coincide with his seventieth birthday, lifelong fan and American experimental guitarist Henry Kaiser organised the recording of Sky Music: A Tribute To Terje Rypdal. It features many musicians who have been influenced by Terje Rypdal. This includes some of the great and good of Norwegian music, plus some musicians from much further afield. They reworked and reinvented tracks from Terje Rypdal’s back-catalogue, which became the double LP Sky Music: A Tribute To Terje Rypdal, which is a fitting homage to a legendary musician.
Sky Music: A Tribute To Terje Rypdal Volume 2.
Label: Rune Grammofon.
It turned out that there was more than enough music for the double album Sky Music: A Tribute To Terje Rypdal. There were two tracks that didn’t make it onto the album, Icing and Filmore ’76, which is based on a 1978 live performance at Radiohuset Studios, in Stockholm. As Henry Kaiser and staff from Rune Grammofon listened to Icing and Filmore ’76 they realised that the tracks were too good to not to release. They became Sky Music: A Tribute To Terje Rypdal Volume 2 which is a fitting accompaniment to the Sky Music: A Tribute To Terje Rypdal.
Stein Urheim-Utopian Tales.
Label: Hubro Music.
On Utopian Tales Stein Urheim embraced microtonality, and examined its various social and intellectual connections. With microtonality the gaps between the notes in music are much smaller than the gaps between the notes in Western music. In Western music, they’re seen as a reflection of the hierarchical structures in society at large and reflect the traditional class structure. By comparison, microtonality uses intervals that are much smaller than a semitone, and can be perceived as reflective of a freer and more fluid social order. This will be something that music fans won’t have contemplated until they’ve heard Utopian Tales which is an ambitious, cerebral and thought-provoking album.
Stephan Meidell-Metrics.
Hubro Music.
Three years after the release of his critically acclaimed, groundbreaking debut album Cascades, Stephan Meidell returned with his much-anticipated sophomore album Metrics. With the help of handpicked and multitalented band, Stephan Meidell carefully crafts the soundscapes on Metrics. They’re atmospheric, dramatic, moody, mournful and pensive, and other times, futuristic and otherworldly. Sometimes, the music is catchy, elegiac, ethereal and melodic. Always though the soundscapes on Metrics are captivating and cinematic on this groundbreaking and ambitious album that marks the coming of age of sonic sorcerer and musical pioneer Stephan Meidell.
Stephan Micus-Inland Sea.
Label: ECM Records.
With many musicians spending much of their lives touring, some musicians collect instruments from different parts of the world. This includes German musician, singer and composer Stephan Micus who then leads to play them and composes music with the new additions to his musical arsenal. Sometimes, he even adapts or extends them, and as a result the newly adapted instrument can create an array of new sounds. That was the case on Island Sea, where Stephan Micus played nine instruments, including zithers, shakuhachi, balanzikom, genbri and guitars. Often these instruments are multi-tracked as Stephan Micus creates a musical mosaic, like on Island Sea which is a truly ambitious and innovative album where nothing is as it seems. Or is it?
Susanne Sundfør-Music For People In Trouble.
Label: Bella Union.
Just like Susanne Sundfør’s previous albums, Music For People In Trouble was a carefully crafted album of genre-melting music that featured cerebral and thought-provoking music. It asks a series of questions, and deals with a variety of scenarios and subjects. Some of them will ring true with those that buy the album. They’ll have suffered the same hurt and heartbreak, or feel the same way about love or romance. Elsewhere on Music For People In Trouble, Susanne Sundfør embarks upon musical experiments, as she embraces avant-garde on a very personal, poignant and powerful album which features Susanne Sundfør at the peak of her powers musically.
Sven Nyhus-Kvintett.
Label-Heilo.
In late 2017, Norwegian folk musician, composer and musicologist Sven Nyhus released his latest album Kvintett. It looked like a solo album from Sven Nyhus, but Kvintett was actually the latest album from his quartet that was founded in 1969. This makes the quartet the oldest and most experienced of the “still playing ensembles.” The quartet put all of their experience to good use on Kvintett, which features new compositions by bandleader Sven Nyhus. He ensures that his “still playing ensembles continue to reach the same standards on Kvintett as they have on previous albums.
The James L’Estraunge Orchestra-Eventual Reality.
Label: BBE.
Ricky Reid recorded The James L’Estraunge Orchestra’s debut album Eventual Reality in his rural idyll in the highlands of Scotland. The result was an album where beautiful ballads sit side-by-side with anthems and atmospheric and cinematic soundscapes. There’s also irresistible instrumentals and songs where the hooks certainly haven’t been spared. Each and every song on Eventual Reality is different, and they veer between anthemic, joyous and uplifting to beautiful and heart-wrenching to poignant, ruminative and thoughtful. Often there’s a message or story to the song, and The James L’Estraunge Orchestra breathe life and meaning into these cinematic soundscapes and songs on their Eventual Reality which is a reminder that Scotland is still producing talented musicians.
BEST NEW ALBUMS OF 2017-PART 10.
Best New Albums Of 2017-Part 10.
The Souljazz Orchestra-Under Burning Skies.
Label: Strut Records.
Fifteen years after The Souljazz Orchestra was founded in Ottawa, Canada, in 2002, they returned with their seventh album Under Burning Skies. It’s without doubt, the finest album of their career, which has been said before. However, with every album they reach new heights using an eclectic selection of instruments. Many of these are instruments are long-lost, sometimes unloved junk shop finds. This doesn’t matter, as The Souljazz Orchestra is capable of creating incredible music with these instruments. That is the case on Under Burning Skies where the hooks haven’t been spared as the music veers between beautiful, joyous and uplifting to ruminative and thoughtful right through to funky, soulful and dance-floor friendly.
Tim Berne’s Snakeoil-Incidentals.
Label: ECM Records.
Although Tim Berne’s Snakeoil’s fourth album Incidentals was released in 2017, this live set had been recorded at The Clubhouse, in New York, during December 2014. Three years later, and Incidentals was released and found the expanded lineup of Skakeoil continuing to move further away from their original acoustic chamber-jazz sound. They play with an unbridled freedom fusing howling, searing avant-rock guitars, squelchy acidic synths and thunderous timpani with horns that soar above the arrangement and intermingle. For much of Incidentals, Snakeoil’s playing veers between direct to loose and spontaneous, but always inventive and innovative during this roller coaster journey where the music is vibrant and sometimes visceral, but always exciting.
Trio Mediaeval and Arve Henriksen-Rimur.
Label: ECM Records.
The roots of Trio Mediaeval and Arve Henriksen’s album Rimur can be traced to Dalsfjorden on the Norwegian west coast. Over several summers, the idea for Rimur took shape. Trio Mediaeval and Arve Henriksen were captivated and inspired by Icelandic sagas, beautiful chants, folk songs, religious hymns and fiddle tunes, and decided to record an album together. The quartet recorded an album where improv, mediaeval and traditional music from Iceland, Norway and Sweden combines with the music of the present on Rimur. It’s an enchanting and timeless album whose beauty is breathtaking.
Ulan Bator-Stereolith.
Label: Bureau B.
On Stereolith, veteran musical shape shifters and avant rock survivorsUlan Bator seamlessly switching between genres as they continue to captivate and create music that is way ahead of the musical curve. Sometimes, Ulan Baton a curveballs and take the listener on the equivalent of a magical musical mystery tour where it’s a case expect the unexpected on this ambitious genre-melting album. The result is Stereolith which is without doubt, one the best albums of Ulan Bator’s twenty-four year career. It finds Ulan Bator continuing to reinvent their music to ensure that it remains relevant. Music chameleons Ulan Bator succeed in doing so, on their much-anticipated twelfth album, Stereolith.
Ulver-Riverhead (Original Motion Picture Soundtrack).
Label: House Of Mythology.
As 2017 dawned, Norwegian experimental collective Ulver released the soundtrack album to Riverhead. It finds Ulver fusing electronica and ambient with elements of Celtic and Nordic folk music to create a series of hushed, airy and atmospheric cinematic soundscapes. Some of these soundscapes are minimalist, but like all the pieces on Riverhead paint pictures in the mind’s eye and take the listener on a musical journey.
Vijay Iyer Sextet-Far From Over.
Label: ECM Records.
When the Vijay Iyer Sextet released Far From Over in the summer of 2017, the common consensus was that was their finest album yet. It found the Vijay Iyer Sextet reaching new heights on album where some top improvisers push musical boundaries and combine musical genres in search of that elusive sonic perfection. They don’t disappoint on an album that veered between explosive to elegiac, but was always enthralling and entrancing. Especially when the Vijay Iyer Sextet play a freedom and enthusiasm on Far From Over as the music becomes funky rhythmic, melodic and not short of hooks.
Wild Honey-Torres Blancas.
Label: Lovemonk Records.
When Wild Honey released Torres Blancas in 2017, it was by far the greatest album of their three album career. It surpasses the quality of Wild Honey’s two previous albums, Epic Handshakes and A Bear Hug and Big Flash. They were merely the musical equivalent of an amuse-bouche. By comparison, Torres Blancas is a musical feast that comprises only the very finest of ingredients. When they’re combined, the result is Torres Blancas, a carefully crafted album of melodic and memorable perfect pop from Wild Honey, which is a career-defining mini-masterpiece.
AKSAK MABOUL-UN PEU L’AME DES BANDITS-VINYL REISSUE.
Aksak Maboul-Un Peu de L’âme Des Bandits-Vinyl Reissue.
Label: Crammed Discs.
Nearly three years after releasing their seminal avant pop album, Onze Danses Pour Combattre la Migraine in the summer of 1977, Aksak Maboul returned with their much-anticipated 1980 sophomore album Un Peu de L’âme Des Bandits. It was the first album Aksak Maboul released on Marc Hollander’s Crammed Discs, who recently reissued Un Peu de L’âme Des Bandits on vinyl.
This is the first ever reissue of this classic album, and is best described as a lovingly curated release. Un Peu de L’âme Des Bandits is pressed on heavyweight vinyl and comes with a booklet that features a variety of documents that will be of interest to all fans of Aksak Maboul. So too will the previously unreleased tracks that are entitled Before and After Bandits, and can be accessed via a download code that is included in each copy of Un Peu de L’âme Des Bandits. It was the second chapter in a story that began three years earlier in 1977.
In early 1977, Marc Hollander and Vincent Kenis decided to turn what had been a dream into reality, when they founded a new band together, Aksak Maboul. By April 1977, Aksak Maboul had entered the studio and began work on their debut album.
Onze Danses Pour Combattre la Migraine.
Over the next two months, Aksak Maboul recorded what was a groundbreaking genre classic, Onze Danses Pour Combattre la Migraine. Marc Hollander and Vincent Kenis who were both talented multi-instrumentalists had decided to take charge of production of their debut album. This was a brave decision considering they planned on recording a truly ambitions album.
Onlookers watched incredulously as the three members of Aksak Maboul fused disparate and unlikely musical genres and influences. Everything from avant-garde to African music was rubbing shoulders with Balkan, electronica and experimental, to free jazz, rock and proto-techno. There was even elements of American minimalist, jazz and early twentieth century classical music on album where Aksak Maboul had cast their net far and wide for inspiration.
It was as if the three members of Aksak Maboul were delving into the furthest corners of their respective record collections. This included the influence of minimalist composer and pianist Erik Satie; avant-garde composers like Tony Conrad, Jon Gibson, Frans Geysen and Terry Riley, plus Brian Eno who had popularised ambient music in the seventies. However, it was free jazz pioneers like Sun Ra, Charles Mingus and Ornette Coleman who seem to have been a starting point for Aksak Maboul. Free jazz, which was referred to as energy music in the sixties seemed to have inspired Aksak Maboul as embarked upon what’s akin to a journey without a map. This brave and adventurous approach worked for Aksak Maboul, as they continue to combine musical genres and influences.
Rock pioneers Frank Zappa and the Velvet Underground seem to have influenced Aksak Maboul as the three musical magpies drew inspiration from countless disparate sources, combined it into something totally different. Often, though, this wasn’t the end of this ambitious musical experiment, and this musical mosaic was then deconstructed, and incredibly, seamlessly became something totally different and innovative. Astonished onlookers watched as the three musical alchemists worked their magic on their debut album. It was finished in May 1977 and became Onze Danses Pour Combattre La Migraine.
By then, onlookers realised that Aksak Maboul were no ordinary band. It was obvious even to the casual observer that Aksak Maboul were musical pioneers who dared to go where other bands feared to tread. Aksak Maboul it seemed, were determined to challenge musical norms and push boundaries to their limits. Onlookers speculated how this would turn out?
Music industry insiders and critics knew that one of two things would happen when Aksak Maboul released Onze Danses Pour Combattre La Migraine in the summer of 1977? Aksak Maboul would either crash and burn, or their debut album Onze Danses Pour Combattre La Migraine would be hailed as a groundbreaking, genre-melting classic? The three members of Aksak Maboul held their breath as critics and cultural commentators had their say on Onze Danses Pour Combattre La Migraine.
Critics on hearing Onze Danses Pour Combattre La Migraine which translates to Eleven Dances For Fighting Migraines, hailed the album as ambitious, imaginative and innovative. Some critics went even further, describing Onze Danses Pour Combattre la Migraine as a groundbreaking masterpiece from a band who had a huge future ahead of them. For Aksak Maboul this was encouraging as they released their avant-pop classic, Onze Danses Pour Combattre la Migraine.
Later in the summer of 1977, Onze Danses Pour Combattre la Migraine was released on the Belgian independent label Kamikaze Records. However, Aksak Maboul’s debut wasn’t solely credited to the band. Instead, the album was credited to Marc Hollander/Aksak Maboul. There was a reason for this.
Much of the music on Onze Danses Pour Combattre la Migraine was the work of Marc Hollander, and it was only fair that he received much of the credit for what’s now regarded as a seminal album, Onze Danses Pour Combattre la Migraine. However, when Onze Danses Pour Combattre la Migraine was released by Kamikaze Records, which was only a small independent label, the album wasn’t a commercial success. The problem was Kamikaze Records was only a small independent label, that had neither had the budget to promote the album, nor it into the major record shops. However, Onze Danses Pour Combattre la Migraine became a cult album, and set the bar high for future avant-pop albums which are always compared to Marc Hollander/Aksak Maboul’s genre classic.
The commercial failure of Onze Danses Pour Combattre la Migraine was a hugely frustrating and disappointing for the two members of Aksak Maboul. Especially after receiving critically acclaimed reviews and being hailed an avant pop classic. It was a case of what might have been, as a new chapter began in the autumn of 1977.
By then, Aksak Maboul who were still a duo had never played live. This was about change when two became four. Percussionist Chris Joris and keyboardist Marc Moulin had joined Aksak Maboul. They were meant to be the final piece of the musical jigsaw, when the band when played live. However, Chris Joris was soon replaced by Frank Wuyts and they would become the classic lineup of Aksak Maboul.
Although Aksak Maboul was now playing live as a quartet, they were often augmented by guest musicians who took to the stage when they played live or recorded albums. That was the case when Aksak Maboul recorded their much-anticipated sophomore album Un Peu de L’âme Des Bandits in 1979.
Un Peu de L’âme Des Bandits.
It would be expanded lineup of who recorded the six tracks that became Un Peu de L’âme Des Bandits. The core quartet of Marc Hollander, Vincent Kenis, percussionist Frank Wuyts and keyboardist Marc Moulin were joined by two English musicians, Fred Frith a bassist, guitarist, violinist and drummer and percussionist Chris Cutler. The two new additions would play their part in the songwriting process on an album of two parts.
Founder member Marc Hollander contributed A Modern Lesson, and wrote Palmiers En Pots with Frank Wuyts, which featured André Verchuren’s Trio. Frank Wuyt and cellist Denis Van Hecke wrote Inoculating Rabies while new recruit Fred Frith penned Geistige Nacht. The other track on side one was the traditional song I Viaggi Formano La Gioventù. On the second side was the most ambitious piece of music of Aksak Maboul’s three year career.
This was Cinema a near twenty-three epic that featured four movements. Catherine Jauniaux who had agreed to add the vocal to Cinema, wrote Ce Qu’On Peut Voir Avec Un Bon Microscope with Chris Cutler, Denis Van Hecke, Fred Frith and Belgian bassoonist Michel Berckmans. Meanwhile, Alluvions and Azinou Crapules was written by Marc Hollander and Frank Wuyts. Closing this four piece suite was Age Route Brra! (Radio Sofia) which was credited to “All The Players.”
When it came time for Aksak Maboul to record Un Peu de L’âme Des Bandits, All The Players made their way to Sunrise Studios in Kirchberg, Switzerland in February 1979. Sunrise Studios was still relatively new, and had only been founded by Swiss composer, musician and producer Etienne Conod in 1975. This was just two years before Aksak Maboul recorded their seminal avant rock classic Onze Danses Pour Combattre la Migraine. It had set the bar high for Aksak Maboul’s sophomore album, but Marc Hollander, Vincent Kenis and the rest of the band were up for a challenge, and began recording what later became Un Peu de L’âme Des Bandits.
Joining Aksak Maboul were the two English musicians Fred Frith and Chris Cutler, who were joined by Belgian vocalist Catherine Jauniaux, cellist Denis Van Hecke plus bassoonist and oboist Michel Berckmans, cellist Denis Van Hecke. This extended lineup of Aksak Maboul spent the next month recording the group’s sophomore album. However, after a month, Un Peu de L’âme Des Bandits wasn’t finished, and Aksak Maboul returned home to Belgium.
Aksak Maboul made the return journey to Sunrise Studios in August 1979, where they would complete recording of Un Peu de L’âme Des Bandits. However, it would be 1980 before Aksak Maboul’s much-anticipated sophomore album Un Peu de L’âme Des Bandits was released by Marc Hollander’s new label Crammed Discs.
Rather than release Un Peu de L’âme Des Bandits on another record label, a decision was made to release the album on Crammed Discs, which was a relatively new label. It had only been founded earlier in 1980, and releasing Un Peu de L’âme Des Bandits on such a new label wasn’t without a degree of risk.
Would Crammed Discs have the financial muscle and expertise to promote Un Peu de L’âme Des Bandits, and get the album into the larger record shops? This was where Kamikaze Records had failed, and had cost Aksak Maboul dearly. However, Crammed Discs was a very different label to Kamikaze Records, and after releasing Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits, Marc Hollander’s label has released over 250 albums. That was still to come.
Prior to the release of Un Peu de L’âme Des Bandits, critics and cultural commentators had their say on Aksak Maboul’s long-awaited and much-anticipated sophomore album. The first time round, Marc Hollander and Vincent Kenis who back then, were the only members of Aksak Maboul had held their breath as critics and cultural commentators passed judgment. However, by 1980 Aksak Maboul were flavour of the month among the critics and so was Un Peu de L’âme Des Bandits.
When Aksak Maboul returned with Un Peu de L’âme Des Bandits, critics discovered another ambitious and groundbreaking album, from the new lineup of the band. Along with some of their musical friends they had recorded a much more experimental album than its predecessor Onze Danses Pour Combattre la Migraine. There was also an intensity to this powerful, carefully crafted, genre-melting album. It showcased two very different sides to Aksak Maboul, who had written parts of what were incredibly complex, intricate horn charts and used Eastern scales in the multilayered arrangements. Other parts of the songs had been improvised by Aksak Maboul, including the hardcore ambient pieces. They had put their extensive musical arsenal to good use, as they combined a disparate and eclectic selection of musical genres.
This included mixture of traditional instruments including an oboe, bassoon, saxophones, guitars, bass and piano which joined the latest in musical technology, a drum machine. Aksak Maboul also used sampling despite 1979 being the pre-sampler era. Instead, they taped short pieces of sound including the flipper from a pinball machine, excerpts from the vocals of delta blues and added gibberish vocals. Aksak Maboul also took excerpts of popular tangos which were sliced and diced and then randomly reassembled to create a “new” piece of music, Tango. To the rich musical tapestry that was Un Peu de L’âme Des Bandits, Aksak Maboul added Bulgarian, crypto-punk, Polynesian, Pygmy and pseudo-Varese music on Un Peu de L’âme Des Bandits. Add to this the influence of baroque music, the Canterbury scene, French café music and everyone from Frank Zappa to Henry Cow and Stravinsky and the result was bold and ambitious album of innovative experimental avant-rock. It epitomised the type of music that bands within the Rock In Opposition, including Aksak Maboul were recording in 1979. Once again, critics were astounded at the sheer variety of musical genres and influences that had inspired Aksak Maboul.
Un Peu de L’âme Des Bandits was no ordinary album, with Side A featuring five dissipate dance tracks. Modern Lesson set the scene as a “twisted blues” track unfolds and gibberish vocals are joined by a guitar, cello and later saxophone, which play with a freedom and invention before the horn chart becomes intricate. Despite that, it’s a captivating track that is variously rhythmic, mesmeric and melodic.
Very different is Palmiers en Pots which comprises two short tracks. Trio from Nuits D’Argentine is a beautiful piece of wistful music that was originally written for a string trio. It gives way to Aksak Maboul’s slice and dice Tango, which is an irresistible dance track that is a reminder of how innovative a group Aksak Maboul were in 1979.
Geistige Nacht shows the two sides of Aksak Maboul. Initially, they’re a tight band, as the rhythm section powers the arrangement along as the saxophone and piano play leading roles. Later, and seamlessly, the band play with freedom, invention and the same urgency as before on what’s one of the oft-overlooked tracks on the album.
I Viaggi is a Turkish folk song where Aksak Maboul use a Middle Eastern scale, while the dumbeg and cello play traditional scales. However, the cello and vocal also double the melody line. In doing so, they play their part in a track that is initially haunting, hypnotic, ethereal and cinematic. Always though, the Turkish influence shines through even when the music takes on a more experimental sound, before becoming urgent as it reaches a rocky crescendo.
Inoculating Rabies is totally different from what’s gone before, and finds a bassoon and bass clarinet playing against backdrop of driving, anthemic rock and punk. It’s best described as bassoon punk where Aksak Maboul unleash angst, anger and frustration.
Flipping over to B-Side and critics and record buyers discovered Cinema, the four piece suite that made Aksak Maboul the toast of progressive rock fans. They were won over by a quite remarkable suite, which features four separate solos, including a six-string bass, acoustic cello, electric cello, and synths. Add to the equation woodwind passages that are deliberately become almost discordant and dissonant but are certainly moody and atmospheric. Later, the members of Aksak Maboul are sometimes transformed into psychedelic rockers, before showcasing their talent and versatility during short pieces of Middle Eastern music. However, on the final piece of the suite, Age Route Brra! (Radio Sofia) Aksak Maboul improvise and replicate what was a well known Bulgarian talk radio show. This brought to an end what was Aksak Maboul’s Magnus Opus on Un Peu de L’âme Des Bandits.
It was one of inner reasons why Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits was released to widespread critical in 1980, and hailed an avant rock classic. Some critics went as far as to say that Un Peu de L’âme Des Bandits was possibly the finest album released by a group from the Rock In Opposition movement. This was quite an accolade, given how much groundbreaking music was being released during this period.
Thirty-eight years later, and Aksak Maboul’s sophomore album Un Peu de L’âme Des Bandits is still regarded as an avant rock classic and has just been reissued by Marc Hollander’s Crammed Discs’ label. As an added bonus, there’s also ten previously unreleased tracks that are entitled Before and After Bandits, that that can be accessed via a download code that is included in each copy of Un Peu de L’âme Des Bandits.
Before and After Bandits.
Nine of the previously unreleased tracks were recorded between April 1977 and April 1980 in the studio and live. The tracks that were recorded in the studio were the moody, futuristic and experimental Vapona Au Tour De France and another version of the twenty-three minute epic Cinema (Knokke). They’re joined by two inventive and innovative examples of improv, Venise Improv Mastoul Alakefak (Milano Improv), where Aksak Maboul push musical boundaries to their limits, and sometimes, beyond. On A.T.A./Horreurs Aksak Maboul play with freedom and invention as the sonic explorers unleash a stunning performance. Alluvions/Truc Turc features much more restrained, rhythmic and melodic performance that shows another side to Aksak Maboul. Then on Before J, Aksak Maboul again play with urgency and invention on a captivating and cinematic track.
There’s also a triumvirate of live tracks, including Onze Dents/Son Of L’Idiot where Aksak Maboul show that they’re much more than a studio band, and capable and comfortable playing in front of an audience. Here, they create an eerie, haunting and dramatic cinematic track and play. Closing Before and After Bandits is Paysage Vole (Live) which has a contemporary sound, where Aksak Maboul have been inspired by modern dance music on a track which also fuses elements of electronica, experimental and fusion. In doing so, Aksak Maboul prove that they’re just as relevant some thirty-eight years after Marc Hollander and Vincent Kenis decided to found a new band together.
For fans of Aksak Maboul, Crammed Discs recent reissue of Un Peu de L’âme Des Bandits on vinyl, is the first official release of the band’s second classic album. As an added bonus, the download code that comes with Un Peu de L’âme Des Bandits gives them access to Before and After Bandits. It includes another ten reasons to discover or rediscover the delights of Un Peu de L’âme Des Bandits which was Aksak Maboul’s second avant pop classic.
Many record buyers won’t remember when Aksak Maboul released their debut album Onze Danses Pour Combattre la Migraine in the summer of 1977, and the followup Un Peu de L’âme Des Bandits three years later in 1980. Both albums are avant pop classic and feature musical pioneers Aksak Maboul creating ambitious, imaginative, inventive and innovative music that was inspired by disparate musical genres and influences. They play their part in Un Peu de L’âme Des Bandits, which is a carefully crafted musical tapestry and timeless avant rock classic that featured the classic lineup of Aksak Maboul as the created musical history for the second time in just three years.
Aksak Maboul-Un Peu de L’âme Des Bandits-Vinyl Reissue.
FIRE!-THE HANDS.
Fire!-The Hands.
Label: Rune Grammofon.
When the Swedish power trio Fire! was founded ten years ago in 2008, saxophonist Mats Gustafsson, bassist Johan Berthling and drummer and percussionist Andreas Werliin were determined to bring a new approach to improvised music which they were all passionate about. They also knew that their new band Fire! would allow them to rekindle and sharpen their instrumental skills, and take them out of what they saw as their respective comfort zones. To some extent, the three members of Fire! were also looking for a new musical challenge, and something that provided an alternative to the various projects that they were involved with in 2008. Little did the members of Fire! realise just how successful their new project would be over next ten years.
Fast forward ten years, and Fire! which started as a side project for Mats Gustafsson, Johan Berthling and Andreas Werliin has snowballed, and there’s now two bands under the Fire! banner. This includes the twenty-seven piece Fire! Orchestra who released their debut album Enter in January 2014. Just over two years later, in May 2016, the Fire! Orchestra released their critically acclaimed fourth album She Sleeps, She Sleeps. However, they’re still two albums behind the band that started the ball rolling, Fire!.
Recently Fire! released their much-anticipated sixth album The Hands on the Rune Grammofon label. The Hands is another ambitious and innovative album, from one of Scandinavia’s top power trios, who continue on a mission that began in 2008.
For far too long, jazz and especially free jazz has been perceived by many record buyers and even some critics as “difficult” music. It’s regarded as beyond the comprehension of the ordinary record buyer who has grown up listening to pop and rock. That however, is far from the case, and Fire! and Fire! Orchestra have made it their mission to prove those that jazz and especially free jazz, isn’t beyond the comprehension of record buyers.
After all, jazz has been an important part of Fire!’s genre-melting sound for the past ten years. Fire! are now regarded as one of Swedish music’s success stories, is a musical democracy which features three equally talented players, who each play an important part in the trio’s tight genre-melting sound. This includes elements of free jazz, jazz, noise, psychedelia and rock. However, Fire! has also been inspired by power trios like Cream and The Jimi Hendrix Experience as well as the hypnotic quality of Black Sabbath’s eponymous debut album. All this, has obviously influenced Fire! when they came to record the seven tracks that became The Hands. It’s a captivating and mostly an uncompromising album where the music is dark, heavy and has a ferocity and intensity. Fire! also show exactly what a power trio can do, as they continue in their mission to introduce jazz and free jazz to a wider audience, and bring a new and fresh approach to improvised music.
The latest chapter in the Fire! story began on the ‘10th’ of May 2017 when Fire! arrived at Bruket, Sickla, which was where they would spend the next week recording the seven tracks on The Hands. Mats Gustafsson brought with him his bass and tenor saxophones and the electronics that were part of Fire!’s musical arsenal. Meanwhile, Johan Berthling unpacked his double and electric basses, while Andreas Werliin setup his drum kit and an array of percussion. He would also be responsible for supplying the feedback on The Hands. When work began, Fire! wasted no time, and just like on their three previous albums recorded the album quickly. By the ‘17th’ of May 2017 The Hands, which was produced by Andreas Werliin and Fire! was complete.
Withe the album complete, the next step was for Andreas Werliin mix The Hands in Putarna, Tossene. This left just the mastering, and Lupo mastered the album at Calyx Mastering, in Berlin, mastered The Hands. Only then was Fire!’s sixth album ready for release
Eight months after Fire! completed recording their much-anticipated sixth album The Hands, it was released in January 2018 by Rune Grammofon. The Hands was the latest album of ambitious, innovative and genre-melting music from one of Scandinavia’s top power trios Fire!
The Hands opens with the title-track where industrial sounds give way to the thunderous, roaring rhythm section. Johan Berthling’s bass adds a dark menacing sound that seems to draw inspiration from early Black Sabbath. By then, industrial sounds have been added before a wailing, soul-baring free jazz saxophone is unleashed. Meanwhile, the rhythm section lock into a tight groove, and became one as they create a dark, menacing and mesmeric backdrop. Never does drummer Andreas Werliin miss a beat, as the snarling dragon that is Fire!’s rhythm section drive the anthemic arrangement along. Latterly, the industrial sounds return before feedback is unleashed and Andreas Werliin tames the tiger, as it becomes part of this genre-melting soundscape.
As Andreas Werliin pounds his drums slowly, distant dialogue can be heard before the dark menacing bass prowls across the arrangement. Soon, a braying saxophone soars high above the rhythm section which have been pulled back in the mix. Mats Gustafsson’s saxophone growls, brays and snarls as it takes centre-stage, and plays with power, passion and an inventiveness. Still, the rhythm section create a dark, dramatic and menacing backdrop. Later, just the quivering saxophone remains before dissipating, leaving just the memory of Fire! at their inventive and innovative best on they create a dramatic and cinematic soundscape.
The tenor saxophone growls and drones on Touches Me With The Tips Of Wonder as cymbals hiss and crash and Johan Berthling lays down a fleet-fingered but subtle backdrop. This allows Mats Gustafsson’s ruminative saxophone to create a late-night smokey sound. It’s as if Fire! have been asked to play late night in a Stockholm jazz club, and are channeling the spirit of John Coltrane. However, later Fire! throw a curveball as dialogue replaces the saxophone and the three musical mavericks continue in the mission to reinvent improvised music.
Andreas Werliin plays his drums with power and speed on Washing Your Heart In Filth before Johan Berthling adds another fleet-fingered baseline before Mats Gustafsson’s braying, screeching saxophone enters. It’s played with power and passion before reaching crescendo. All the time, drums and percussion join the bass in powering the arrangement along. By then, the saxophone is played with a tenderness and becomes melodic and thoughtful. This shows another side of Fire! Still, the rhythm power the arrangement until the track reaches a memorable ending,
A dark rhythm bass join with urgent drums as Up and Down unfolds, and Fire! draw inspiration from the classic power trios and hard rock bands of the late-sixties and early seventies. Soon, Mats Gustafsson steps forward and unleashes an impassioned solo that veers between soulful to powerful and urgent. This is similar to drummer Andreas Werliin’s performance as he pounds his drums while Johan Berthling’s bass adds a dark, dramatic and ominous backdrop. With thirty-seconds left, drama and dialogue are combined as Fire! as the track reaches a crescendo.
Slowly and deliberately Johan Berthling’s dark bass broody plays and is joined by drums that are played with care and precision on To Shave The Leaves. In Red. In Black. In doing so, Andreas Werliin adds to the drama, as Mats Gustafsson unleashes one of his best solos. It’s played with power and control, as the growling, braying and rasping saxophone soars high above the rhythm section. They’re encouraging Mats Gustafsson every step of the way, as he an almost flawless performance unfolds. Still the bass is dark and menacing and joins with the drums to create a moody backdrop for Mats Gustafsson’s saxophone. Later, the rhythm section enjoy their moment in the sun, while eerie, haunting dialogue swirls in the distance. It disappears when the saxophone returns, as this near ten-minute broody, moody and dramatic Magnus Opus draws to a close.
The Hands closes with I Guard Her To Rest. Declaring Silence. It’s a very different sounding track with Mats Gustafsson’s wistful ruminative saxophone being accompanied by a standup bass and subtle drums. Fire! seem to have been transformed into a vintage jazz trio,and embrace the role. That is until bubbling sounds are added to the arrangement. Still, a beautiful, ruminative track that encourages reflection unfolds and closes the album on a high.
Less than a year after the release of their critically acclaimed fifth album She Sleeps, She Sleeps, hard rocking power trio Fire! return with their much-anticipated genre-melting sixth album The Hands. It finds Fire! continuing to combine elements of free jazz, jazz, noise, psychedelia and rock. To this, they add avant-garde, electronica, experimental and industrial music, while drawing inspiration from classic power trios like Cream and The Jimi Hendrix Experience, as well as the hypnotic quality of Black Sabbath’s eponymous debut album. This results in music that is dark, heavy and has a ferocity, intensity and sometimes, takes on a menacing sound. Other times, the music becomes ruminative and allows for reflection as Fire! show another side to their music.
As power trios go, Fire! is a hugely talented and versatile band who continue in their mission to introduce jazz and free jazz to a wider audience. That is only part of what Fire! have been trying to achieve for the past ten years. Fire! continue in their mission to bring a new and fresh approach to improvised music on The Hands, which was recently released by Rune Grammofon, and is without doubt, the finest album of their career. The Hands is also one the most accessible and eclectic albums of Fire!’s career, with anthems rubbing shoulders to reflective, memorable and melodic music and even a musical Magnus Opus for the Swedish mavericks who nowadays, are one of Scandinavia’s finest power trios.
Fire!-The Hands.
THE REAL SOUND OF MARK GRUSANE.
The Real Sound Of Mark Grusane.
Label: BBE.
Eight years ago, on the ’26th’ of January 2010, Mark Grusane made his BBE debut, when he co-compiled The Real Sound Of Chicago with Mike Cole, his partner in Mr. Peabody Records. It was then one of Chicago’s premier record shops, and was the first port of call for many DJs and producers when they visited the Windy City. That was no surprise, as Mr. Peabody Records was home to 15,000 records including many of the tracks that eventually found their way onto The Real Sound Of Chicago, which was Mark Grusane and Mike Cole’s first compilation of underground disco. However, this was no ordinary album of underground disco. Instead, The Real Sound Of Chicago featured hidden gems that had slipped under the musical radar. These hidden gems incorporated elements of funk, gospel and R&B, while other tracks on The Real Sound Of Chicago moved towards the post disco sound of boogie. This eclectic compilation of hidden gems was released to plaudits and praise, and soon, Mark Grusane and Mike Cole were working on a followup compilation for BBE.
Just over year-and-a-half later, and Mark Grusane and Mike Cole returned on the ‘15th’ of August 2011 with followup to The Real Sound Of Chicago, The Real Sound Of Chicago and Beyond. This time around, the pair had widened the scope of compilation which was billed as “underground disco and boogie,” but also featured dance music from different parts of the world. Still, though, the majority of the tracks on this lovingly curated compilation were hidden gems and rarities which Mark Grusane and Mike Cole were introducing to the wider record buying public. These rarities played their part in what was an eclectic compilation from Mark Grusane and Mike Cole
Sadly, their was no followup to The Real Sound Of Chicago and Beyond, and that was the end of this short-lived compilation series. Since, the release of The Real Sound Of Chicago and Beyond, Mr. Peabody Records shut its doors for the final time. Although one of Chicago’s legendary record shops was no more, this allowed Mark Grusane and Mike Cole to start new chapters in their career.
Since then, Mark Grusane continues to live in the Windy City, where he’s still buying and selling records. Mark Grusane continues to DJ across the world, releases new productions on various record label and continues to work on new edits. This has become one of Mark Grusane’s specialists, and would prove useful when he decided to compile a new compilation.
After seven years away from the world of compilations, Mark Grusane recently made a welcome return when The Real Sound Of Mark Grusane was released by BBE on the ‘26th’ of January 2018, which by sheer coincidence was eight years to the day since The Real Sound Of Chicago was released.
For The Real Sound Of Mark Grusane, the man himself chose eleven slices of boogie, disco and modern soul. This includes contributions from Africano, Sémaj, Frank Pellica, Brief Encounter, Choker Campbell, Shabadoo, Daniele Patucchi, Yan Tregger, Jim Spencer, Macho and The Island Music Makers. Nine of the tracks were then edited by Mark Grusane, which is something he’s been since he was twenty-one. Using a lifetime’s experience, Mark Grusane then edited and usually extended these tracks, which featured on The Real Sound Of Mark Grusane, which is a carefully curated compilation of boogie, disco and modern soul.
The horn led Open Your Hearts by Africano opens The Real Sound Of Mark Grusane. It’s a track anyone familiar with Hi Records’ illustrious back-catalogue will be familiar with. Africano was signed to Hi Records in 1973 and released their debut single Satisfactorize Your Mind in October 1973. Eight months later, in June 1974 came Africano’s finest hour, Open Your Hearts (Part 1). It was written by Africano and produced by Arthur Cole, who plays his part in what’s a joyous, funky, soulful and memorable floor-filler. Thirty years later, and Mark Grusane edited Open Your Hearts in 2004, and it’s that limited edit that opens the compilation, and sets the bar high for what follows.
This includes Semaj’s All Should Be In All which is sure to find favour with fans of boogie and modern soul. It was produced by J.E. Mansell and released by Zaraster Records in 1987. On the A-Side of the single was the vocal mix, while the instrumental featured on the flip-side. Mark Grusane has skilfully combined the two for an eight-minute edit that is soulful and dancefloor friendly.
Many Chicagoans will have heard Frank Pellico play live but not be aware of this. He played the stadium organs for both the Cubs at Wrigley also the Blackhawks at the United Center. Many of the patrons at both venues that were probably unaware that Frank Pellico was also a recording artist who released ten studio albums. This included This Moment In Time ’79 which was released in 1979 and featured covers of familiar songs, including Copa Cabana. Mark Grusane takes the original song which lasted 3.39 and extends in so that it lasts just over six-minutes. In doing so, he takes the listener back to 1979 when disco was king and artists on both sides of the Atlantic were jumping onboard the bandwagon. Frank Pellico’s cover is much better than many tracks recorded during this period, as he unleashes a fleet-fingered solo on a track that marries elements of soul-jazz, funk, disco and Latin music.
Brief Encounter who were originally called Sounds Of Soul, hailed from North Wilkesboro, in the foothills of the North Carolina’s Blue Ridge Mountain. They released two albums and six singles between 1973 and 1981. This included What About Love, which was written by Brief Encounter who produced the single with John Richbourg. It was released on Capitol Records in 1976, and thirty-two years later, this modern soul classic was edited by Mark Grusane.
Although saxophonist, songwriter, producer, band leader, and label owner christened Walter Luzar Campbell, he was known to many within the music industry as Choker Campbell. This sounds more like a mob boss, than a gifted musician who enjoyed a long and successful career. Initially, he was part of Motown’s house band the Funk Brothers, until he was replaced by Earl Van Dyke. However, Choker Campbell then led the house band at Detroit’s Graystone Ballroom, and later, founded Tri-City Recording Co. and its various sub-labels. In 1977, Choker Campbell released Carioca as a single on the Candy Apple label. Carioca is a track from Choker Campbell’s debut album Street Scene which was also released in 1977. It’s funky and soulful, but also cinematic and dramatic as its part of a soundtrack to a seventies film or TV show.
American actor, dancer, choreographer and director Adolfo Quiñones Shabadoo when he released Do It on Dore in 1976 as a twenty-one year old. Do It has a tough, funky sound that briefly becomes futuristic before becoming soulful and taking on a slick disco sound.
Italian composer, conductor, bassist and producer Daniele Patucchi covered the John Barry composition Sacrifice on the B-Side of his 1977 single for the Italian label CAM, Maybe My Luck Has Changed. For those who flipped over to the B-Side, their luck definitely changed when they discovered a genre-melting mid-tempo hidden gem. It’s a glorious, mesmeric and urgent workout where disco, funk, fusion, jazz and even a hint of psychedelia is combined by Daniele Patucchi. Unlike many of the tracks on the compilation, copies of the original single can be found for reasonable prices. However, it would to best buy now to avoid disappointment.
The tempo drops on Yan Tregger’s slow, soulful and sultry Spend The Night. It’s taken from an album of library music entitled Catchy, which showcases the talents of Yan Tregger, Phil Davies and Christopher Ried. Catchy was released in 1978 by the Musical Touch Sound label, and nowadays, can change hands for over £380. This puts that album beyond the budget of most record buyers, and Mark Grusane’ Spend The Night Edit is the nearest they’ll come to discovering the delights of catchy.
By 1979, Jim Spencer from Milwaukee, Wisconsin, was an experienced musician who had already released two solo albums. His 1973 debut Landscapes was followed by 2nd Look in 1974, which was the last solo album Jim Spencer released. Five years later, in 1979, Jim Spencer had reinvented himself when he released the Yacht Rock favourite Wrap Myself Up In Your Love on Armada Records as a single. Tucked away on the B-Side was a cover of Glenn Miller and Michael Parish’s Moonlight Serenade which later, became a favourite in the Modern Soul scene. Sadly, by then, Jim Spencer had died aged thirty-nine after suffering a stroke.
Macho’s Mucho Macho was released by Event Records in 1977. It was written by Bill Curtis and Richard Cromwell was produced by Traise Productions. They’re responsible for a sensual sounding fusion of soul, funk and disco where the vocal follows in the footsteps of Donna Summer’s Love To Love. However, unlike Love To Love, Mucho Macho failed to find an audience upon its release. In 2004, Mucho Macho found its way onto the B-Side of his edit of Africano’s Open Your. Since then, it’s become a prized track amongst collectors and DJs.
The Island Music Makers’ Calypso Medley closes The Real Sound Of Mark Grusane. It’s one of two tracks not to be edited by Mark Grusane. Instead, the original version of Calypso Medley which featured on Steel Pan Express in 1980 can be heard in all its glory. It is best described as a funky slice of calypso disco from The Island Music Makers who were the Carnival Cruise Lines’ steel band.
After seven-years away from the BBE fold, Mark Grusane makes a welcome return his new compilation of boogie, disco and modern soul, The Real Sound Of Mark Grusane. It features the music that Mark Grusane loves and plays when he DJs around the world. During his sets, he will play many the edits he has made over the years. Nine of his edits feature on The Real Sound Of Mark Grusane. Only Daniele Patucchi’s Sacrifice and The Island Music Makers’ Calypso Medley haven’t been edited by Mark Grusane. Instead, it’s the original versions feature on the compilation.
The Real Sound Of Mark Grusane which was released by BBE on the ’26th’ of January 2018, is sure to appeal to fans of boogie, disco and modern soul. However, it’s also a compilation that will appeal to anyone who likes music funky, soulful and dancefloor friendly, and who likes to discover music that for a multitude of reasons, passed record buyers first time around. It’s changed days nowadays, with many of the tracks on The Real Sound Of Mark Grusane are favourites of DJs, dancers and record collectors.
Given how few copies of the original albums or singles were originally sold, many of the tracks are now extremely rare, and change hands for large sums of money. This means that these tracks are beyond the budget of many record buyers. The nearest they’ll come to owning these tracks is when they buy a copy of The Real Sound Of Mark Grusane, which features a mixture of hidden gems and genre classics.
The Real Sound Of Mark Grusane.
THE BEST REISSUES OF 2017-PART 1.
The Best Reissues Of 2017-Part 1.
Airto Fogo-Airto Fogo.
Label: Pharaway Sounds
Three years after releasing the spiritual jazz classic Israel Suite/Dominante En Blue in 1973, Paris born drummer and percussionist Sylvain Krief returned with a new band Airto Fogo in 1976. They released their eponymous debut album on Decca later in 1976. Sadly, Airto Fogo wasn’t a commercial success, but went onto to become a cult classic. Nowadays, Airto Fogo is regarded as one of the greatest instrumental jazz-funk and rare groove albums committed to vinyl in Europe. Airto Fogo is also a timeless cult classic transports the listener back to Paris, in 1976.
Bert Myrick-Live ’N Well.
Label: BBE.
Although Strata Records released jazz drummer Bert Myrick’s album Live ’N Well in 1974, the album has been recorded nine years earlier on the ‘4th’ of April 1965, at the University Of Michigan Student Union. However, Bert Myrick never meant to record the concert, until someone standing beside the stage pressed record on a tape machine. It caught Bert Myrick leading a truly talented quintet that featured bassist Will Austin, pianist Kenny Cox, trombonist George Bohanon and Ronnie Field on tenor saxophone. They unleash breathtaking performances on Live ’N Well, which was Bert Myrick’s accidental live album. It caught Bert Myrick’s quintet at the peak of their powers on what would become a cult classic that received a welcome reissue during 2017.
Chi Coltrane-Chi Coltrane, Let It Ride and Silk and Steel.
Label: BGO Records.
In 1972, singer-songwriter and multi-instrumentalist Chi Coltrane released her critically acclaimed eponymous debut album on Columbia Records. Buoyed by success of the single Thunder and Lightning which reached seventeen in the US Billboard 100, Chi Coltrane spent three months in the US Billboard 200. When Let It Ride was released in 1973, it marked the musical coming of age of Chi Coltrane. Alas, it was more popular in Europe than America and Chi Coltrane was dropped by Columbia Records. By 1976, she had signed to CBS Germany, and released her fourth album Silk and Steel, which showcased a truly talented vocalist who was maturing with every album. These three albums are the perfect introduction to Chi Coltrane.
Chicago-Chicago II (Steven Wilson Remix).
Label: Rhino.
When Chicago-Chicago II was released in 197o, it was ambitious and captivating combination of lengthy jams, progressive pop and what was described as challenging pop rock tracks. This was the latest offering from the four virtuosos musicians who called themselves Chicago. They were augmented by a three-piece horn section on what was the finest album of Chicago’s career, Chicago II. It was released to critical acclaim and reached six in the UK and four in the US Billboard 200. Chicago received what was the first of many gold discs. Nowadays, though, Chicago II is regarded as a classic, and in 2017, was remixed by Steven Wilson.
Claude Lombard-Chante.
Label: Sommor Records,
When Claude Lombard released Chante in 1969, the album was released Jacques Canetti, which was the first ever French independent record label. Disques Jacques Canetti was willing to take a chance on what was an ambitious and innovative album. Sadly, Chante failed to find the audience it so richly deserved, which was a great shame. After all, Chante was a beautiful, groundbreaking and influential album of chanson psychedelia that sometimes, headed in the direction of avant-garde and sci-fi pop. Sadly, Chante was way ahead of its time and record buyers neither understood nor grasped the importance of this future cult classic. However, recently, a new generation of discovered Chante and have embraced this cult classic.
Cocteau Twins-Four Calendar Cafe.
Label: Mercury/UMC
For many record buyers, one of the highlights of Record Store Day 2017 was the reissue of two Cocteau Twins’ albums, including Four Calendar Cafe. It was released in October 1993, and was the seventh album from the Cocteau Twins. Four Calendar Cafe marked a move way from the ambient sound of previous albums, towards a more poppy sound. Despite that, Liz Fraser’s inimitable, dreamy vocals were even more intelligible and added a degree of mystery to an album that also incorporated elements of ambient, avant-garde and dream pop. With its haunting sound and ethereal beauty Four Calendar Cafe, is one of the highlights of the Cocteau Twin’ eight album career.
Cocteau Twins-Milk and Kisses.
Label: Mercury/UMC
Five years after the release of Four Calendar Cafe, the Cocteau Twins returned in March 1998 with the album that was their swan-sing, Milk and Kisses. It was an album where the Cocteau Twins fused elements of ambient, avant-garde, dream pop and even rock to create music that was beautiful, dreamy, ethereal, lush and lysergic where the world suddenly seemed a better place. Sadly, Milk and Kisses was their swan-song, and brought to an end the Cocteau Twins story. However, even today their music influences and inspires a new generation of musicians.
Cozmic Corridors-Cozmic Corridors.
Label: Mental Experience.
Between 1972 and 1973, the Cozmic Corridors began work on their debut album which they believed would be released by Robin Page’s Cologne-based Pyramid Records. In the studio, he Cozmic Corridors combined elements of avant-garde, Berlin School, electronica, experimental, Krautrock, modern classical and rock. They also seem to have drawn inspiration from a number of artists, including Terry Riley, Kluster and the early albums of Peter Michael Hamel and Klaus Schulze. Mostly, though, the Cozmic Corridors plough their own furrow and sculpt captivating cinematic soundscapes that were way ahead of the musical curve. Sadly, Cozmic Corridors wasn’t released by Pyramid Records. Belatedly Cozmic Corridors was released in 1996, and quickly became a rarity. The reissue of Cozmic Corridors is another chance to discover this groundbreaking and innovative album.
Cream Disraeli Gears
Label: Reaction.
After the success of their debut album Fresh Cream in 1968, power trio Cream returned with their career-defining sophomore album Disraeli Gears. It was released to critical acclaim in November 1969 and certified platinum in the UK and America. That was no surprise given the quality of tracks like Strange Brew, Sunshine Of Your Love, Dance The Night Away, Tales Of Brave Ulysses and We’re Going Wrong which found Cream embracing psychedelia. These tracks played their part in Disraeli Gears being hailed a classic album.
THE BEST REISSUES OF 2017-PART 2.
The Best Reissues Of 2017-Part 2.
Cromwell-At The Gallop.
Label: Got Kinda Lost Records.
By 1975, Ireland had a vibrant music scene, and one of its rising stars Cromwell, was about to release its debut album, At The Gallop. It was an album guaranteed to get any party started, and feared an irresistible fusion of musical genres and influences. Everything from swaggering, strutting, good time, seventies rock ’n’ roll rubs shoulders with blues, country rock and beautiful ballads on At The Gallop. Similarly, Cromwell were inspired by everyone from early seventies Rolling Stones’ albums to Thin Lizzy Mott The Hoople, The Faces and the Flamin’ Groovies’ 1971 album Flamingo. This potpourri of musical genres and influences should’ve transformed the fortunes of Cromwell. Sadly, the album failed commercially and it’s only recently that his hidden gem has found the audience it deserves.
David Bowie Hunky Dory.
Label: Parlophone.
In December 1971, David Bowie fourth album Hunky Dory, was released to widespread critical acclaim. Hunk Dory was one of the most eclectic, ambitious and innovative albums of David Bowie’s career. It reached number three in the UK, but didn’t replicate the same success in America. That was surprising given the quality of an album that opened with Changes and featuring Oh You Pretty Thing, Life On Mars and closing with the Velvet Underground inspired Queen Bitch. David Bowie’s latest musical reinvention had resulted in one of the finest albums of his long and illustrious career, Hunky Dory which is a stonewall classic.
David Bowie-The Rise and Fall Of Ziggy Stardust and The Spiders From Mars.
Label: Parlophone.
When The Rise and Fall of Ziggy Stardust and the Spiders from Mars was released in June 1972, it was loosely described as a concept album about a fictional androgynous bisexual rock star, Ziggy Stardust, who acts as a messenger for extraterrestrial beings. The album was influenced by glam rock and the album explored themes of sexual exploration and social commentary, as well as the ambiguity surrounding David Bowie’s sexuality. After being released to critical acclaim, The Rise and Fall Of Ziggy Stardust and The Spiders From Mars sold 7.5 million copies and became David Bowie’s second consecutive classic album.
Dieter Moebius-Ding.
Label: Bureau B.
On his fifth album Ding, released in 2011, Dieter Moebius embraced the latest technology including a random loop generator. This he put to good use during the making of Ding. The loops it generated, were combined with bifurcate rhythms, impalpable and ghostly voices and a myriad of assorted audio matter which became part of the eleven soundscapes on Ding. This resulted in a very different album from Kram, by fusing elements of avant-garde,Berlin School, electronica, experimental, industrial, Krautrock and Musique Concrète. Add to this an array of hypnotic, industrial mechanical and robotic sounds and it’s one of the most ambitious and experimental albums of Dieter Moebius’ solo career.
Dieter Moebius-Kram.
Label: Bureau B.
When Kram was released in 2009, the music veered between understated, ruminative and elegiac to playful, joyous and tinged with humour, to charming and moderne. Other times, the music is mesmeric and hypnotic, before becoming dark and dramatic. Sometimes, the music becomes experimental and ambitious, while other times, Dieter Moebius unleashes a myriad of futuristic and sci-fi sounds. They join found and throwaway sounds, samples and Dieter Moebius’ trusty synths which he uses to create another genre-melting album which is sometimes cinematic, but captivates. The result is an album that features Dieter Moebius at most ambitious and innovative.
Dieter Moebius-Musik für Metropolis.
Label: Bureau B.
After Dieter Moebius was invited to perform music to accompany a screening of Fritz Lang’s legendary silent film Metropolis, he decided to record a full-length album featuring the music from the Metropolis project. Recording began in 2012, but wasn’t completed by the time of Dieter Moebius’ death in 2015. That wasn’t the end of the project, and three of Dieter Moebius’ friends completed Musik für Metropolis. They played their part in soundscapes that were atmospheric, dramatic, futuristic, melodic, menacing, mesmeric, poignant and full of tension. Always the filmic music on Musik für Metropolis captivates and compels as Dieter Moebius paints pictures with music.
El Turronero-New Hondo.
Label: Pharaway Sounds
When El Turronero released New Hondo on Belter Records in 1980, it was the seventh and the most ambitious album of the thirty-three year old flamenco singer’s career. By then, El Turronero was an experienced cantaor singer with a legion of fans across Spain. They attended his concert and bought his albums. That was until he released New Hondo, a groundbreaking and genre-melting album where he set about reinventing flamenco. He fused different styles of flamenco with boogie, disco, funk, Philly Soul, psychedelia, rock and social comment. This was meant to mark the reinvention of El Turronero and flamenco. Sadly, it wasn’t to be and it was El Turronero’s least successful album. Nowadays, New Hondo is receiving the critical recognition it so richly deserves, and is regarded as a landmark album that had the potential to transform the future of flamenco music.
Emilio Aparicio Moog Expansión Galáctica.
Label: Mental Experience.
Between 1969-1971 Emilio Aparicio, an electronic experimental musician from Guatemala, pioneered the use of the Moog synth in Latin America. Emilio Aparicio used his newly acquired Moog synth to record the music on Expansión Galáctica which showcases the a musical pioneer. The music he recorded was ambitious, innovative, imaginative and timeless as genres melt into one. Sadly, Emilio Aparicio didn’t enjoy the commercial success his music deserved, and hopefully, somewhat belatedly this musical maverick’s music will find the audience that it deserves.
Erasmo Carlos-Erasmo Carlos E Os Tremendoes.
Label: Light In The Attic Records.
As 1970 dawned, a new era began for former teen idol Erasmo Carlos, who was about to embark upon a three-year period where he released a triumvirate of albums that nowadays, are regarded as cult classics. The first of these albums was Erasmo Carlos E Os Tremendoes, saw Erasmo Carlos embrace the artistic freedom that many of his contemporaries and peers enjoyed. Suddenly, the singer-songwriter flourished and his music became sophisticated and eclectic as he combined disparate musical genres and influences. Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and souls were all combined on Erasmo Carlos E Os Tremendoes, which was the first of a trio of albums that marked the coming of age of musical pioneer. Despite featuring something for all musical tastes, record buyers failed to understand Erasmo Carlos E Os Tremendoes, and it was only a generation later that this groundbreaking album found an appreciative audience within a coterie of musical connoisseurs.
Erasmo Carlos-Erasmo Carlos
Label: Light In The Attic Records.
By the time Erasmo Carlos released his eponymous albums in 1971, he was in the middle of one of the most creative periods of his long career. Long gone were his days as a teen idol, as he enjoyed artistic freedom to create an album that had been influenced by counterculture that had swept the globe. The result was another album that incorporated Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and soul. This irresistible potpourri should’ve brought commercial success Erasmo Carlos’ way. Sadly, commercial success eluded the album, it was only later that Erasmo Carlos received the recognition and found the audience in deserved.
THE BEST REISSUES OF 2017-PART 3.
The Best Reissues Of 2017-Part 3.
Erasmo Carlos-Sonhos E Memórias 1941-1972
Label: Light In The Attic Records.
When Sonhos E Memórias 1941-1972 was released in 1972, this was the last instalment in a trio of albums that featured Erasmo Carlos at his creative zenith. His bubblegum beginnings seemed a long time ago, and he was a much more sophisticated artist than back then. He had reinvented his music, but neither 1970s nor Erasmo Carlos E Os Tremendoes 1971s Erasmo Carlos had found an audience despite their electricity. It seemed Erasmo Carlos was trying to appeal to the widest possible audience, by incorporating Bossa Nova, folk, funk, psychedelia, rock ‘n’ roll, samba-rock and soul. This was the case on Sonhos E Memórias 1941-1972, where lightning struck again as the album failed commercially. Erasmo Carlos was left shaking his head as he knew that he had released a carefully crafted groundbreaking album. Sadly, it took thirty years before record buyers realised this and the trio of albums Erasmo Carlos released between 1970 and 1972 found the appreciative audience that they deserved.
Erol Büyükburç-Hop Dedik.
Label: Pharaway Sounds,
By the time Erol Büyükburç’s third album Hop Dedik was released to critical acclaim in October 1976, he was one of the biggest names in Turkish music. He was also a flamboyant showman, who looked like, dressed like and conducted himself like a star. Erol Büyükburç wore lame suits and was greeted by a legion of loyal fans every time he took the stage. Alas, they weren’t won over by Hop Dedik, a truly eclectic album which incorporates elements of traditional Turkish music, disco, funk, pop, psychedelia, rock and soul. There’s also Anatolian pop and rock influences throughout Hop Dedik where the music of two continents melt into one. They’re part of a career-defining cult classic that features flamboyant showman Erol Büyükburç at the peak of his powers.
Eric Clapton-Slowhand-Vinyl.
Label: Polydor.
When November 1977, Eric Clapton released his much-anticipated fifth album Slowhand, the reviews were mostly positive. Critics were won over by an album where Slowhand’s playing was much more subtle and understated on an album where he sometimes laid bare his soul. Slowhand featured future favourites Cocaine, Wonderful Tonight and Lay Down Sally, and was certified gold in the UK and triple platinum in America. Nowadays, Slowhand is regarded as a classic album and one of Eric Clapton’s finest albums.
Fleetwood Mac-Tango In The Night.
Label: Rhino/Warner Bros.
Tango In The Night, which was released in April 1987, was the fourteenth album by Anglo-American rock band Fleetwood Mac. It had started life as a Lyndsey Buckingham side project but became one of Fleetwood Mac’s most successful albums. Not only did Tango In The Night sell fifteen million fifteen million copies, but featured the hits Big Love, Seven Wonders, Everywhere, and Little Lies. Fleetwood Mac’s radio friendly fusion of pop rock and soft rock continued to be a popular around the world.
Galactic Explorers-Epitaph For Venus.
Label: Mental Experience.
Although Robin Page’s Pyramid Records only released fifteen albums during its lifetime, several other albums had been recorded, but lay unreleased. This included the Galactic Explorers Epitaph For Venus, which is a cinematic opus that was variously dark, dramatic, eerie, futuristic, hypnotic, melodic and mesmeric. Other times, sci-fi and otherworldly sounds are added as the Galactic Explorers take the listener on a captivating and genre-melting journey. Although there’s a Krautrock influence on Epitaph For Venus, it’s not as apparent as other albums that bore the Pyramid Records’ name. Instead, Epitaph For Venus showcases a much purer Kominische avant-garde sound that shows a very different sound to the Pyramid Records’ sound.
Gandalf-Journey To An Imaginary Land.
Label: Esoteric.
Having heard Gandalf’s 1980 debut album Journey To An Imaginary Land, it was hailed by critics as an innovative and progressive album. It was a fusion of eclectic musical instruments, influences and genres. When they’re combined by Gandalf, the result is a groundbreaking and genre-melting album where listeners embark upon a captivating, mythical and symphonic musical Journey To An Imaginary Land. During the journey, the music is variously atmospheric, dramatic, elegiac, ethereal, futuristic, moody and otherworldly. Alway, there’s a cinematic sound, to this ambitious and accomplished album, as sonic explorer and innovator Gandalf continues on his first Journey To An Imaginary Land.
Harry Nilsson-Nilsson Schmilsson.
Label: RCA Legacy.
When Harry Nilsson released Nilsson Schmilsson in November 1971, it featured the number one single that became synonymous with him, Without You. Jump Into The Fire and Coconut were also hits and Nilsson Schmilsson reached number three in the US Billboard 200 and was certified gold. This carefully crafted album of pop and rock is now regarded as a classic album, and Harry Nilsson’s finest hour.
Heat Exchange-Reminiscence.
Label: Out-Sider Music.
Canadian band Heat Exchange originally recorded Reminiscence in 1972, but the album was never officially released. As a result, nobody got to hear this genre-melting album. Heat Exchange took as their starting point hard rock, and added to the musical melting pot folk rock, funk, fusion, jazz and progressive rock. Heat Exchange switched between and fused these disparate genres on Reminiscence. It showcases truly talented band who recorded an almost flawless album of hard rocking, catchy, complex, melodic and memorable music. Reminiscence is a reminder of one of Canada’s great lost groups in the early seventies, looked destined for greatness, Heat Exchange.
Henry Cow-Leg End.
Label: Virgin.
Leg End was released in August 1973, and marked the debut of English avant-rock band Henry Cow. Critical acclaim accompanied what was an ambitious and innovative album. It found Henry Cow combining eclectic selection of influences, including avant-garde jazz, experimental rock and progressive rock on this captivating musical fusion. This was the start of Henry Cow honing their unique and inimitable sound on five albums released between 1973 and 1979. However, for many critics Leg End was Henry Cow’s finest album.
Ian Matthews-Valley Hi and Some Days You Eat The Bear… Some Days The Bear Eats You.
Label: BGO Records.
Having fulfilled his contractual obligations, Ian Matthews left Vertigo and signed to Elektra Records. Before long, he began work on Valley Hi which was released in the summer of 1973 and was hailed by many critics as a country rock classic. For the followup Days You Eat The Bear…Some Days The Bear Eats You, Ian Matthews switched between the LA country sound, the West Coast Sound and soft rock. The music was slick, polished, radio friendly and bang on trend. Despite this, the album failed to trouble the charts, and Ian Matthews time at Elektra Records was at end. He left behind two albums that ooze quality and showcase a truly talented singer, songwriter and musician.
THE BEST REISSUES OF 2017-PART 4.
The Best Reissues Of 2017-Part 4.
Iggy Pop-The Idiot.
Label: UMC.
When Iggy Pop released his debut solo The Idiot in March 1977, it was a stylistic departure from the former leader of The Stooges. The Idiot seemed to have been influenced by Kraftwerk, James Brown and David Bowie’s Berlin trilogy. As for the title, it had been inspired by Fyodor Dostoyevsky’s novel The Idiot. Critics were impressed by The Idiot, which nowadays is regarded as one of his finest albums. It’s also an album that inspired many post punk, gothic and industrial artists and bands. However, with its fusion of art rock and industrial rock, The Idiot wasn’t representative of Iggy Pop’s music and he never made another album like his critically acclaimed debut.
Judy Henske-The Elektra Albums.
Label: Ace Records.
In 1962, Judy Henske the Queen of the Beatniks was living in Los Angeles, when she first came to the attention of Elektra Records’ founder Jac Holzman. He secured the signature of Judy Henske for $2,000, which was double his initial offer. Soon, Judy Henske was recording her eponymous debut album which was released on Elektra Records in 1962. Critics were appreciative of a very special and versatile singer, who could seamlessly switch between folk and blues, and was just as comfortable singing tender, heartfelt ballads as unleashing a vocal powerhouse on her critically acclaimed debut. This was followed by High Flying Bird which was released in 1963 and saw Judy Henske flitting between blues, folk and jazz on an album that received praise and plaudits. Sadly, High Flying Bird like Judy Henske, failed commercially and the Queen of the Beatniks left Elektra Records after two accomplished and memorable albums.
Jodi-Pops De Vanguardia
Label: Out-Sider Music
The story of Jodi’s album Pops De Vanguardia is a familiar one, with this groundbreaking album failing commercially upon its release in 1971. The problem was it was too far ahead of the musical curve. Critics and record buyers failed to understand a groundbreaking album where Jodi fused blues, garage rock, indie rock, proto-punk, psychedelia and rock. There’s even elements of avant-garde and experimental musical on Pops de Vanguardia, which was an ambitious album that deserved to find a much wider audience. Sadly, that wasn’t the case. Since then, Jodi’s opus Pops de Vanguardia is regarded by a coterie of discerning musical connoisseurs as a lost genre classic. Nowadays, Pops de Vanguardia which is a oft-overlooked hidden gem, had been discovered fans who appreciate and understand Jodi’s music.
Junie-The Complete Westbound Recordings 1973-1976.
Label: Westbound Records.
In September 1973, nineteen year old Walter “Junie” Morrison Jr parted company with the Ohio Players after playing on their 1972 breakthrough album Pain, and Pleasure which was released in 1973. However, as one door closed, another opened and Junie embarked upon a solo career at Westbound Records. He released his 1975 debut album When We Do in 1975. It was slick, soulful, funky and dancefloor friendly, but unsuccessful. Freeze followed later in 1975 combined elements of his debut album with a tougher, funkier and lysergic sound. Sadly, commercial success eluded Freeze and Suzie Super Groupie was released in 1976. Slick, smooth and soulful, it headed in the direction of boogie, funk and jazz. However, it also failed commercially and Junie’s career at Westbound Records was over after three innovative albums from one of music’s best kept secrets.
Klaus Schulze-Ballet 1 and 2.
Label: MIG Music.
When Klaus Schulze released his Contemporary Works box set in October 2000, the four volumes of Ballet were regarded as among its highlights. They were recorded after the death of his mother in 1998 who had been a ballet dancer. Using banks of synths, Klaus Schulze sculpted and honed the genre-melting soundscapes that became Ballet 1 and 2. They’re a fusion of ambient, Berlin and classical music on Ballet 1, with elements of avant-garde and Musique concrète emerging on Ballet 2. The result was two albums of beautiful, ethereal, melodic and memorable that is among the best music Klaus Schulze released during the nineties.
Klaus Schulze-Ballet 3 and 4.
Label: MIG Music.
Unlike the two previous instalments in the Ballet quartet, Ballet 3 featured just one seventy-six minute track, My Ty She. This was one of the most ambitious tracks that Klaus Schulze had created. It’s a beautiful, emotive, haunting and moving opus that was also ethereal, elegiac and sometimes, melancholy and ruminative. Other times, the music is elegant, graceful and fittingly, balletic. By comparison, Ballet 4 veered between wistful and ruminative to urgent to emotive and full of beauty. It was lovingly created album that was a fitting homage to Klaus Schulze’s late mother.
L.A. Express-L.A. Express and Shadow Play
Label: BGO Records.
Once L.A. Express had signed to Caribou Records, they began work on their eponymous debut album, and later, decided to take charge of production. They recorded an album where fusion meets jazz funk. There’s even bluesy licks, rocky and funky elements to L.A. Express which was released to critical acclaim in 1976. Despite that it failed to trouble the charts, and L.A. Express hoped for a change of fortune on Shadow Play. It was well received by critics, who noticed that L.A. Express had moved from fusion towards a rockier sound on Shadow Play. Sadly, despite guest appearances by Joni Mitchell and Victor Feldman the album failed commercially. That was the end of the road for L.A. Express, whose musical legacy was two oft-overlooked hidden gems.
Laraaji-Celestial Vibration.
Label: Soul Jazz Records.
Although the story goes that Brian Eno “discovered” legendary zither player Laraaji busking in Washington Square Park, in New York, Laraaji’s recording career was well underway by then. He had already released two albums by the time Brian Eno entered his life. This included his 1978 debut album Celestial Vibration which features a beautiful, meditative and hypnotic sound. This was the first of many albums that Laraaji who is now seventy-five released during a five decade career.
Lee Hazelwood-13.
Label: Light In The Attic.
When 13 was recorded in 1970, it was Larry Marks who added the vocals to nine songs on this alum-in-waiting. However, after Lee Hazelwood’s label LHI suffered financial problems, the project was shelved. By the time Lee Hazelwood was living in Sweden, he decided to revisit the 13 project, and replaced Larry Marks with his own. The result was an album that is very much of its period, but is an enjoyable and rewarding listen with highlights including She Comes Running and Ten Or 11 Towns Again.
Lighthouse-Lighthouse, Suite Feeling and Peacing It All Together.
Label: BGO Records.
Between 1969 and 1970, Lighthouse recorded a trio of albums which they hoped would build on the success of their eponymous debut album. This began with Lighthouse in 1969, which received plaudits and praise from critics for its Lighthouse’s innovative genre-melting sound. Despite being designed to grab the listener’s attention, Lighthouse failed to find an audience. Neither did Suite Feeling, a carefully crafted and eclectic album which was relaxed in late-1969. When Peacing It All Together was released to critical acclaim in 1970, this latest eclectic album charted and reached 133 in the US Billboard 200. Peacing It All Together was the finest album of Lighthouse’s career, and the one that launched their successful career.
THE BEST REISSUES OF 2017-PART 5.
The Best Reissues Of 2017-Part 5.
Melissa Manchester-Home To Myself, Bright Eyes, Melissa and Help Is On The Way.
Label: BGO Records.
Success didn’t come overnight for Melissa Manchester. She released her debut album Home To Myself in 1973, which was well received by critics, but reached just 156 in the US Billboard 200. In 1974, Melissa Manchester’s carefully crafted sophomore album Bright Eyes which featured beautiful ballads and uptempo tracks stalled at 159 in the US Billboard 200. However, Melissa Manchester made a breakthrough with Melissa in 1975. It featured slick, polished and lush arrangement and was certified gold, and launched the career of Melissa Manchester. Two years later Melissa Manchester’s fifth album Help Is On The Way which reached just sixty in the US Billboard 200. Despite that, these four albums are the perfect introduction to Melissa Manchester.
Mick Clarke Ramdango, Crazy Blues and Shake It Up!
Label: BGO Records.
Mick Clarke’s life changed when he was fifteen, heard Eric Clapton for the first time. This was the start of a journey that saw Mick Clarke follow in Slowhand’s footsteps, and become one of the greatest British blues men of his generation. Proof of that, are his first three albums, 2013s Ramdango, 2014s Crazy Blues and 2015s Shake It Up! which are the perfect starting introduction to Mick Clarke.
Moğollar-Moğollar.
Label: Pharaway Sounds.
In 1976, Moğollar released their eponymous album which was just the third of their career. It’sa captivating fusion of ancient Anatolian melodies and instruments which is combined with elements of classical music, progressive rock and psychedelia. Add to that, Eastern sounds and bursts of fuzzy guitar. The result is a heady brew that comprises Turkish folk songs; Azerbaijani folk song, classical pieces and B-Sides. Sadly, Moğollar wasn’t a commercial success, and failed to follow in the footsteps of Hittit Sun. That was the last straw for Moğollar, who called time on their career after eight years together.
Motörhead-Motörhead.
Label: Chiswick Records.
Two years after Ian “Lemmy” Kilmister founded Motörhead in 1975, the classic lineup of his band entered the studio in April 1977 to record their classic debut album, Motörhead. It was released in August 1977, reached forty-three in the UK charts and was certified silver. Motörhead showcased the band’s unique and inimitable style that had taken shape since they made their debut in 1975. By 1977, Motörhead were fusing hard rock and rock ’n’ roll with a hint of blues rock, which all played a part in their barnstorming, speed-fuelled performance on Motörhead. Forty years later, Motörhead has stood the test of time, and quite rightly is regarded as a classic album.
Mulatu Astatke-Mulatu Of Ethiopia.
Label: Strut.
For Mulatu Astatke, Mulatu Of Ethiopia was a game-changer of an album. At last, after years of searching for his own sound, Mulatu Astatke had discovered his own unique sound. This Mulatu Astatke called Ethio-jazz. It was a genre that influenced a generation of Ethiopian musicians when they heard this groundbreaking album.While other artists would release Ethio-jazz classics, Mulatu Astatke had set the bar high for those that followed in his footsteps. Their albums were compared to Mulatu Of Ethiopia, which isn’t just as Ethio-jazz classic, but a jazz classic. Mulatu Of Ethiopia was a career defining album for Mulatu Astatke, the founding father of Ethio-jazz. who influence several generations of musicians.
Non Band-Non Band.
Label: TAL.
Although Non Band were primarily a punk group, their eponymous debut album was much more than a punk album. There were elements of the post punk and new wave sounds, and occasional diversions into funk, free jazz, traditional Japanese music and even some poppy hooks. Very occasionally, Non Band took on a jazz and experimental sounds and headed in the direction of avant-garde. Mostly, Non Band evokes the spirit of ’78, when the punk arrived in Japan. However, music had changed by late 1981 when Non Band was recorded, and this explains why it’s such a genre-melting album, that launched the career of punk pioneers Non Group.
Olafur Arnalds-Eulogy For Evolution.
Label: Erased Tapes Records.
By 2017, composer, multi-instrumentalist and BAFTA award-winning producer Ólafur Arnalds was a successful soundtrack composer, who had already released three critically acclaimed solo albums. This included his ambitious and cerebral debut album Eulogy For Evolution, which documents the journey of life from birth to death. It was written while Ólafur Arnalds was still a teenager, and released to plaudits and praise in 2007 as Ólafur Arnalds approached his twenty-first birthday. Critics were astounded than someone so young could record such a profound album. Ten years later, and that is still the case when Eulogy For Evolution was reissued.
Oregon-Out Of The Woods and Roots In The Sky.
Label: BGO Records.
Having released seven albums for Vanguard between 1972 and 1978, Oregon signed to Elektra Records. For Oregon this was the opportunity of a lifetime as Elektra Records was one of the biggest record labels in the world, and had the marketing expertise and financial muscle to promote and distribute Oregon’s music worldwide. This proved to be the case when Oregon released Out Of The Woods to critical acclaim and commercial success in 1978. With its fusion of jazz, folk melodies and world music, Oregon were on their way. Roots In The Sky was released to plaudits and praise in 1979, and found Oregon fusing jazz, classical and world music. Sadly, Roots In The Sky failed to find an audience and Oregon’s success was short-lived. However, Oregon’s two albums for Elektra Records are among the best and most innovative in their back-catalogue.
Ozark Mountain Daredevils-Ozark Mountain Daredevils.
Label: BGO Records.
After releasing six albums of Southern fried country rock for A&M, Ozark Mountain Daredevils signed to Columbia Records in 1979, and released their eponymous album in 1980. It showcased the Ozark Mountain Daredevils’ new sound. Stylistically, it sounded as if Ozark Mountain Daredevils were following in the footsteps of The Eagles and the Little River Band by recording an album of carefully crafted, melodic and radio friendly songs. They were bang on trend, and should’ve attract the attention of radio programmers. Critics were in agreement, but when the album stalled at 170 in the US Billboard 200 Ozark Mountain Daredevils were dropped by Columbia Records. However, Ozark Mountain Daredevils is an oft-overlooked hidden gem that shows another side to one of the most successful Southern rock bands of the seventies.
Quintessence-Move Into The Light: The Complete Island Recordings 1969-1971.
Label: Esoteric.
Quintessence was founded in Notting Hill, London in 1969, and over the next three years, forged their own unique sound where jazz, psychedelia and progressive rock was combined with Indian influences. This is apparent on their first three albums 1969s In Blissful Company, Quintessence and Dive Deep which were released by Island Records. These three albums feature on Quintessence-Move Into The Light: The Complete Island Recordings 1969-1971, and are a reminder of a pioneering band at the peak of their powers.
THE BEST REISSUES OF 2017-PART 6.
The Best Reissues Of 2017-Part 6.
Radiohead-OK Computer OKNOTOK 1997 – 2017.
Label: XL Recordings.
In June 1997, post rock pioneers Radiohead released the album that transformed their career, and catapulted them to music’s premier league. OK Computer with its abstract lyrics, densely layered sound and eclectic range of disparate influences was very different to the bubblegum Britpop sound that was popular at the time. Radiohead had released an ambitious and innovative classic album that would lay the groundwork their later, more experimental albums.
Requiem-For A World After.
Label: Mental Experience.
For six months, George A. Speckert and Massimo Grandi laboured long and hard in Sparky Studios to record Requiem’s debut album For A World After. Eventually, the two men had completed what was an ambitious and innovative concept album, For A World After. It had been written by George A. Speckert and “tells the story of world annihilation through nuclear war.” Requiem had recorded a powerful and poignant musical statement which was released as private press in 1981. Sadly, it failed to find an audience until recently. Now this genre-melting, cult classic which fuses elements of ambient, Berlin School, Krautrock and psychedelia is receiving the recognition it deserves.
Ronnie Milsap-Out Where The Bright Lights Are Glowing, There’s No Gettin’ Over Me, Keyed Up and One More Try For Love.
Label: BGO Records.
Right up until the release of Keyed Up, Ronnie Milsap was one of the biggest names in country music. Proof of this a trio of critically acclaimed albums Out Where The Bright Lights Are Glowing, There’s No Gettin’ Over Me and Keyed Up, which are a reminder of a giant of country music at the peak of his powers. However, in 1984, Ronnie Milsap changed direction on One More Try For Love which featured AOR, country, electronica, pop, and rock. While the music was slick, carefully crafted, melodic and memorable, the album reached a lowly 180 in the US Billboard 200. Ronnie Milsap’s eighties makeover backfired, and brought to an end the most successful period of his career.
Roy Buchanan-Loading Zone and You’re Not Alone.
Label: BGO Records.
For his second album for Atlantic Records, Loading Zone, Roy Buchanan was paired with producer Stanley Clarke. The pair bonded whilst recording the genre-melting Loading Zone, which featured an all-star cast. When it was released in May 1977 and certified gold, it became Roy Buchanan’s most successful album. Raymond Silva produced the followup You’re Not Alone, which was a much more ambitious, complex and sophisticated album from Roy Buchanan. and received the same critical acclaim as Loading Zone. Sadly, upon its release in late 1977, You’re Not Alone failed to trouble the charts, and was the one that got away for Roy Buchanan. However, Loading Zone and You’re Not Alone are the perfect introduction to the late, great Roy Buchanan.
Rupture-Israel Suite/Dominante En Bleu.
Label: Sommor Records.
In 1973, Rupture released an Israel Suite/Dominante En Bleu, which was an ambitious concept album that set out to document the history of the Israel. Very few copies of this private press were released, which nowadays, is a spiritual jazz classic. It’s also one of the rarest European jazz records of the past fifty years. Copies hardly ever come up for sale, and when they do, they’re beyond the budget of most record buyers. However, the reissue of Israel Suite/Dominante En Bleu means that this spiritual jazz classic is within the budget of everyone, and they can enjoy one of the most ambitious concept albums of the seventies.
Sea Level-Ball Room.
Label: BGO Records.
After Capricorn Records filed for bankruptcy, a new lineup of Sea Level signed to Arista, and began work on Ball Room. It was one of the most eclectic albums Sea Level’s career and features anthems, rockers and ballads. Critics were won over by Ball Room, which it was thought would transform Sea Level’s career. Sadly, it wasn’t to be and Ball Room failed to chart, resulting in Sea Level calling time on their career. However, their’s swan-song Ball Room is an underrated hidden gem in Sea Level back-catalogue.
Skid Row-Skid and 34 Hours.
Label: BGO Records.
On Skid and 34 Hours, Skid Row, who were lead by guitar virtuoso Gary Moore rewrite the rules for future power trios. They created music that was cerebral, complex, hard rocking, innovative and progressive. Skid Row also fused and flitted between disparate and unlikely musical genres during Skid and 34 Hours, which are a reminder of one Ireland’s greatest musical exports during their sadly short, but memorable musical career.
Sly and the Family Stone-Small Talk, High On You and Heard Ya Missed Me, Well I’m Back.
Label: BGO Records.
Between 1969 and 1974, Sly and The Family Stone could do no wrong musically. They released Stand in 1969 with their first Greatest Hits album fowling in 1970. Then came Sly Stone’s Magnus OpusThere’s A Riot Goin’ On in 1971 which ensured the commercial success and critical acclaim continued. That was the case with 1973 Fresh and 1974s Small Talk which brought this golden period to a close. However, 1975s High On You which was Sly Stone’s debut solo album, and 1976s Heard Ya Missed Me, Well I’m Back are oft-overlooked and underrated genre-melting albums from one music’s pioneers and innovators.
Split Decision Band-Split Decision Band.
Label: Now Again Records.
Ever since its released the Split Decision Band’s eponymous debut album has been much prized amongst record collectors. However, it’s an incredibly rare album and copies change hands for large sums of money. This meant that many people were unable to discover the delights of this mysterious band from Des Moines, Iowa. Sadly, Split Decision Band was their one and only album. It features carefully crafted and polished boogie and disco penned by lead vocalist Gordon Starr Flipping. It’s irresistible funky, soulful and dancefloor friendly and even today, will get a party started.
Stoneground-Family Album.
Label: BGO Records.
Prior to the release of Stoneground’s sophomore album Family Album, Warner Bros, began promoting what believed would be their breakthrough album. Family Album featured cover versions and original songs, and was captivating fusion of blues pock, pop, psychedelia, rock and soul. Stoneground was a tight, talented band who played with a fluidity that would be the envy of many bands. Their potential shawn though on what was an accomplished and eclectic album. It lived up to Warner Bros heavy marketing campaign. Sadly, Family Album wasn’t a commercial success and is a hidden gem in Stoneground’s back-catalogue.
dereksmusicblog
dereksmusicblog 