sotomayor
sotomayor
6 apr 18

DeRank™: 7,50

We dive headfirst into the kraut-rock scene on the suggestion of @[ALFAMA] to bring back the craziest listening series there is.

#buzz

Gila - Gila (BASF, 1971)

Gila was formed in 1969 in a commune in Stuttgart. The group was led by guitarist Conny Veit (Guru Guru, Popol Vuh), who, after an initial phase where the band sought inspiration in the style of Pink Floyd, steered the band toward more experimental sounds in the style of Amon Duul II and Popol Vuh. It was precisely Florian Fricke of Popol Vuh and Daniel Fichelscher of Amon Duul II who would later join the band, which here is completed by Frytz Scheyhing, Walter Wiederkehr, and Daniel Alluno. An objectively spectacular and very particular album, even within a microcosm already unique like kraut-rock, "Gila" is an album that combines in a composite and multifaceted way the acidity of MC5, the imposing sound of the organ in the style of The Doors, and psychedelic space in the kraut style. The groove of the bass is spectacular, as is the rhythmic section, which at times assumes those derivations of Indian origin with the use of tabla that make the sound even more characteristic, all inserted in the context of those years. Tracks like "Kollektivitat" anticipate Spacemen 3 by twenty years, and the ending of the 12-minute "Kommunikation" with the tail of the organ reigning amidst vibrations and cosmic sparks is simply sumptuous; the psychedelic waves of "Individualitat" hark back to the more experimental psychedelia of Northern Europe... In short, there are truly a lot of interesting insights and brilliant intuitions in this album, which, among those emerging from the kraut-rock scene of those years, is probably one of the least known or undervalued chapters, but as far as I'm concerned, absolutely essential at this point.

#gila #playtheviolin #kraut

Gila - Kollaps
sotomayor
sotomayor
6 apr 18

DeRank™: 0,46

Beautiful album by this kind of jester of contemporary French music.

#zot2017

Forever Pavot - La pantoufle (Born Bad Records, November 10, 2017)

How lovely is the album by this French group! Forever Pavot is the band led by Emile Sornin, already acclaimed for his previous album "Rhapsode" from 2014, and here he delivers a near-masterpiece of experimental psychedelic pop called "La pantoufle," released by the French label Born Bad Records last November. Emile is a singer-songwriter and musician with great inventiveness, almost visionary, drawing inspiration from both French soundtracks of the sixties and seventies and that kind of imagery, as well as a psychedelic aesthetic in the style of Os Mutantes and experiments in the field of jazz. This, apart from his emotional writing and the blend of thriller, romantic, erotic, and ironic themes. Psychedelic pop carillons ("The Most Expansive Chocolate Eggs," "Le pantoufle est dans le puit"), cinematic ballads ("Jonathan et Rosalie," "Les cagouilles," "Les cordes," "La belle affaire"), jazz and bossa nova experiments ("Hutre," "Cancre," "Ca lance," "Le beefteak," "La soupe è la grolle"), and almost theatrical moments ("Père," "Au pas de l'assassin") offer a full representation of an artist who is both sophisticated and brilliant while being ironically playful, with an album that clearly crushes episodes of pop-psychedelia typical of Jacco Gardner or The Temples, demonstrating true virtuoso mastery both musically and in terms of experimentation and being real visionaries, a concept that cannot be absent in this kind of music. The devotion to artists reintroduced by Born Bad Records such as Vassiliu and Julian Perrin is evident. Chapeu.

#foreverpavot #emilesornin #defonseca

Forever Pavot - Le beefteak
sotomayor
sotomayor
5 apr 18

DeRank™: 0,93

Some records, if they don't convince me but I don't understand why, I put them aside and then pick them up after a little while. Sometimes it works out for me. Like here.

#zot2017

Trans AM - California Hotel (Thrill Jockey Records, April 22, 2017)

Revisited after a year, this album by Trans AM ultimately confirms the quality of the previous works of the historic band featuring Phil Manley, Nathan Means, and Sebastian Thomson. Released on April 22, 2017, coinciding with Record Store Day 2017, and obviously on Thrill Jockey, the band's eleventh album is titled "California Hotel" (apparently a tribute to Glenn Frey of the Eagles, who passed away in 2016) and opens immediately with the standout track: "I Hear Fake Voices," six minutes of psychedelic kraut loops and cosmic music over which bands like Tame Impala could have built their entire discography, if only they had a modicum of talent and good taste. But the album has a shape and content that are quite heterogeneous; the following "Staying Power" (purely instrumental) is fundamentally based on a bass groove that somewhat recalls "Anybody Seen My Baby" by the Stones, "Ship Of The Imagination" has that typical hallucinatory and visionary thrilling that has become the hallmark of Maserati, with Giorgio Moroder and Kraftwerk influences (the use of vocoder...) also present in "Alles Verboten," while the title track and "Expansions" teeter between the kraut-rock of Harmonia and John Carpenter visions, and it goes on like this until the space waves of Spacemen 3 in "I Want 2B Ignored" and the Jean-Michel Jarre west-coast sound of "Rules of Engagement," making for an album that has gained many points for me with each listen and that I consider definitely very good and highly recommended.

#transam #thrilljockey #californiahotel

Trans Am - Rules of Engagement
sotomayor
sotomayor
4 apr 18

DeRank™: 8,87

A superclassico della musica folk-psichedelica bursts into the #buzz showcase and among the latest offerings from @ALFAMA that I've noted down and have been revisiting lately.

Magnet & Paul Giovanni - The Wicker Man (soundtrack) (Trunk Records, 1998)

There are certain works of art that are timeless. I must say that I don't consider myself a great connoisseur or expert in any field. If you talk to me about cinema, I might mention Truffaut or Tarkovsky, but I’ll tell you that I once watched “Stalker” and fell asleep. So I didn’t really see it, and anyway, I couldn’t care less. But what about “The Wicker Man” by Robyn Hardy (1973)? This is not just a film; it’s a work whose content has not only been influential in the history of cinema but also has spiritual and psychological, aesthetic content that taps into the roots of human history. Just like the film, the soundtrack by Paul Giovanni with the Magnet (a group put together by the "responsible" Gary Carpenter for the occasion along with Peter Brewis, Michael Cole, Andrew Tompkins, Ian Cutler, Bernard Murray) beautifully surrounds every image, describing them, as the songs intertwine with the scenes, becoming one with them. Ancestral folk, Canterbury scene, arrangements balancing between Gaelic traditions and sophisticated elegance, psychedelic tendencies and obsessive visions. The standout track? Clearly, "Williw's Song." One of the most beautiful things you could ever listen to in your lifetime. Before being burned alive.

#folk #psychedelia #thewickerman

Willow's Song
sotomayor
sotomayor
20 mar 18

DeRank™: 3,83

I’m dusting off the #buzz review with a stunning album, thank you @[ALFAMA].

Bugskull - Phantasies and Senseitions (Road Cone, 1994)

It might seem like a statement meant to define this album as something solely intended for a "teenage" type of listening, but that's clearly not the case. Yet, when I listened to it for the first time, I thought this is the music I would have loved to hear when I was younger, and I somehow felt deprived of something important during those years (where I was clearly subjected to a bombardment of mostly trash music or truly "liquid" music, in the sense of being devoid of any significant content) as I have experienced other times, for example, with the late - in terms of its time - discovery of bands like Pavement or Sebadoh, which I would also associate with this group called Bugskull, a project by Oregon-born musician Sean Byrne (here accompanied by Brendan Bell and James Yu, who were stable members of the band for a period). However, there’s much more to this album released back in 1994 on Road Cone. Sean Byrne was a visionary artist full of inventiveness, combining the typical free spirit and youthful sensitivity of the aforementioned Pavement with experimental minimalist lo-fi recordings and sampling, alongside an abstract attitude reminiscent of the Residents or Zappa-derived sounds. Each track on this lengthy album of 18 tracks thus constitutes a meeting point between these experiences, which are not treated distinctly but synthesized into a unique whole, anticipating by a year even the same “Wowee Zowee,” which also featured free-form elements that are here clearly accentuated with a genius somewhere between Jad Fair and Mark Linkous, along with slow-motion jazz influences from Tuxedomoon. Perhaps the greatest (almost encyclopedic) indie-rock album of the nineties.

#LOFI #INDIE #BUGSKULL

bugskull - recoder
sotomayor
sotomayor
16 mar 18

DeRank™: 0,00

Basically, the more sophisticated and arranged version of "Ruminations"

#zot2017

Conor Oberst - Salutations (Nonesuch, March 17, 2017)

During a retreat in the winter in Omaha, Nebraska, after what had been a complete breakdown both psychologically and physically, and where spontaneously, almost unexpectedly, Conor Oberst had written the songs that would later give life to that beautiful yet "rustic" album "Ruminations" (recorded alongside only technician Ben Brodin in fourteen hours). Returning to social life, so to speak, last year Oberst wanted to literally "salute" this comeback with an album symbolically titled "Salutations" which ideally marks a separation from that negative phase of his existence, but which without renouncing it consists precisely of the re-presentation of the same songs (with some additions: "Too Late To Fixate," "Overdue," "Afterthought," "Napalm," "Empty Hotel by the Sea," "Anytime Soon," "Salutations") but in a different light and with recording sessions expanded to a considerable number of friends and collaborators (among these I would mention the more famous ones like M. Ward or Jonathan Wilson, James Felice...). The album as a whole isn’t too different from "Ruminations" and the judgment is clearly positive, even if the "original" versions remain, in my opinion, better and within a dimension that perhaps suits Oberst’s writing and style more, whom I personally continue to consider an author of great potential.

#brighteyes #conoroberst #indie

Conor Oberst - A Little Uncanny
sotomayor
sotomayor
16 mar 18

DeRank™: 3,93

Supergroup formed by Sir Richard Bishop, Ben Chasny, and Chris Corsano. I've said it all (of course, @ALFAMA said it all before me).

#buzz

Rangda ‎– Formerly Extinct (Drag City Records, 2012)

I don't know if this supergroup is still formally active. Probably yes, after all, the last LP dates back only a couple of years, so there is good hope that their discography can expand even in the near future. Rangda is an experience that began in 2010 within the Drag City Records circle, and it's an incredible combo of musicians consisting of the trio Sir Richard Bishop, Ben Chasny (Six Organs of Admittance), and drummer Chris Corsano. "Formerly Extinct" from 2012 is their second LP and perhaps the most representative and powerful one. The album probably leans more on the compositional ideas of Sir Richard Bishop and his avant-rock, but this—combined with the wisdom of another great guitarist and composer like Ben Chasny and Corsano's drumming—somehow amalgamates and relocates into a dimension different from his solo work. Boasting a chemistry that feels natural among such talented musicians, the album carries that fury reminiscent of the Rangda demon, the queen of the leyak of Bali and fierce enemy of the forces of good. Electric "bolero" compositions like "Idol's Eye," "The Vault," "Majnun," and "Tres Hambres" see intertwining guitar sounds and frenzies of noise music and avant-jazz rhythms, leading to post-hardcore and motorik obsessions in "Plugged Nickel"; with "Majnun," one can also glimpse the exotic influences typical of Bishop, further emphasized in the Mediterranean-tinged composition "Silver Nile" during an incredible twelve-minute session, while "Goodbye Mr. Gentry" features that harmonious, circular quality and devotion to American primitivism that is Ben Chasny's trademark. I think it's very rare to see a combination of such foundational musicians who have had a significant influence in the world of alternative and experimental music over the past twenty to thirty years like very few others: a truly incredible combination.

Rangda - Formely Extinct (2012) (Full Album)

#rangda #dragcity #formerlyextinct
sotomayor
sotomayor
11 mar 18

DeRank™: 0,93

Every new discovery in John Cage's repertoire is a revelation. Thanks to @ALFAMA for introducing me to this magnificent work.

#buzz

John Cage - Bird Cage (Not On Label, 1972)

Honestly, I don't know if this work has ever been published and in what format. As far as I know, it has been reinterpreted by various composers and musicians over the years, leading to different versions (notably that of William Blakeney) of what can be defined as one of the many experimental masterpieces of the great John Cage. Essentially, "Bird Cage" was a true sound installation composed by Cage at the Albany Electronic Music Studios in April 1972 over the course of three days, written for 12 tapes to be played in various combinations of 4, 6, or 8 at a time through speakers. John Cage was assisted in this endeavor by emeritus professor and composer Joel Chadabe and the legendary Robert Moog: the recordings were pre-existing to the sound installation and featured sounds of caged birds, recordings from "Mureau" (1970), and sounds drawn from moments of daily life. It was first performed in 1973 with Joel Chadabe and David Tudor, where the three composers took turns alternating the different tapes without any predefined sequence, thus creating a different environmental context each time. Curiously, listening to it in the same days, I found myself naturally comparing this work to "Le Carnaval des Animaux" by Saint-Saëns. Here too, we have a composition of neo-classical character, albeit minimalist, and at the same time allegorical, where analog instrumentation replaces an entire orchestra. Both composers, a century apart, manage to represent reality through music, marking a continuum within neo-classical music that continues to renew itself today while evidently keeping ties with the past. Defining this work as "suggestive" is certainly limiting, and there is no need to layer the twelve tracks of the record or to play them in different sequences: the sensations derived from listening and the nuances will be different and completely new each time.

#minimalism #avantgarde #johncage

John Cage: Bird Cage (1972)
sotomayor
sotomayor
10 mar 18

DeRank™: 8,98

Very nice disc from a historic band, revived thanks to @ALFAMA.

#buzz

The Sea and Cake - Nassau (Thrill Jockey Records, January 22, 1995)

Next May, The Sea and Cake, the band led by vocalist and guitarist Sam Prekop and fundamental musician and producer John McEntire, will release their eleventh studio album. The record will renew the now-historical collaboration with Thrill Jockey Records, which has been at the heart of the alternative scene in Chicago since the mid-nineties. "Nassau" is the band's second LP, recorded at Idful Music in Chicago and produced by McEntire himself. To say that it is a practically perfect pop record is not an exaggeration in this case. The album fits perfectly into the alternative rock context of the nineties, reviving the "rebellious" sound of groups like Pavement and Yo La Tengo filtered through the typical sounds of Slint or Tortoise, along with certain jazz influences that stylistically make the band's sound particularly elegant and peculiar, a true hallmark that has continued to evolve and remain recognizable over the years.

#alternative #johnmcentire #theseaandcake

The Sea and Cake - Earth Star
sotomayor
sotomayor
4 mar 18

DeRank™: 0,95

@ALFAMA you proposed this work, didn’t you? Here we approach a form of experimentalism that is practically before popular music.

#buzz

Charles Camille Saint-Saens - Le Carnaval des Animaux (1886)

I’m not a great connoisseur of classical music at all, but the case of this work composed in 1886 by the French composer, pianist, and organist Charles Camille Saint-Saens (1835-1921) is surely something that can be easily approached and appreciated by every type of listener. We're talking about a well-rounded intellectual who, beyond being a true child prodigy in the world of music, dedicated himself equally to other sciences, including archaeology, and especially geology and botany. Probably, this kind of interest and certain existentialist visions led him to compose this harmonious work in fourteen pieces, titled "Le Carnaval des Animaux." It is a work clearly humorous and cheerful, which some have even defined as comic. The compositional choices of an artist who was initially known for his improvisational skills sometimes revisit themes from other works and are placed within allegorical representations of the animal world in a nearly onomatopoeic dimension, a style that would later be taken up by minimalist and avant-garde composers starting from the second half of the last century. A virtuosic and entertaining work, as much as evocative and relaxing, it hints at the great spirit of the composer, who at one point presents us with a piece "Pianistes" where he also includes pianists within this delightful work, which has a total duration of about twenty minutes. I wouldn’t know how to direct you to a specific publication of the work, as there have clearly been countless ones over the years, but it obviously won’t be difficult to find. In fact. Curiosity: it was performed publicly only in 1922.

#zoo #saintsaens #neoclassica

Saint-Saëns - Le carnaval des animaux (The Carnival of the Animals) (1886)
sotomayor
sotomayor
3 mar 18

DeRank™: 0,92

I would like to share once again, on the suggestion of @ALFAMA, the listening of Wulf Zendik.

Zendik Farm Orgaztra - Danze Of The Cozmic Warriorz (Zendik Zoundz, 1988)

#buzz

I think that knowing when, where, how, and with whom Wulf Zendik recorded this album is practically impossible. I don't know if there are any traces in this regard, and like everything concerning Wulf Zendik, much is shrouded in total mystery, constituting each of his activities in every field as something that almost resembles a kind of cult and belonging to a real sect. Even today, after his death, the work of his followers and their activities are subjects of all kinds of discussions (from issues related to "mind control," so to speak, to various kinds of abuses committed against members of the different communities). I know that a woman has a book on the matter and her experience in the community, the publication of which has been blocked for various reasons for months. Anyway, the value of this album, apparently first released in 1988, and recorded by Wulf with Bugz, Nez, Zoot, Monk, and Kan (...) remains somehow absolute for my musical tastes. Once again, at the center are the intense and hallucinatory interpretations and vocalizations of Wulf, which unfold in long compositions featuring the acidic and obsessive constructions of rock blues electric organ in "Yan Yin," the Keiji Haino delirium of the groovy "Farm Jam" built on swirling, funk-laden bass lines, and in a kind of hypnotic disco trance ("Danze Of The Cozmic Warriorz"), twisted compositions of acid psychedelia from the sixties like "Inzanity," the Michael Yonkers of "Madman," and the craziness of "Let's Get Stoned," which at a certain point culminates in an explosion of sounds reminiscent of the Dur Dur Band. Released, I don't know when or how, under the name Zendik Farm Orgaztra, this album, like other chapters of this artist's and guru's musical publications, dances on the line between a hippie guru and Reverend Jim Jones (but wasn't he also a sort of hippie guru? You tell me where the boundary begins and ends in defining such a figure) and is a prominent representative of new age cultures and Eastern mysticism. Hallucinatory and evocative like few other things ever published in the history of music. References: Jim Morrison, Suicide, Acid Mothers Temple, Spacemen 3, Keiji Haino, psychedelic drone juggernauts, new age culture, Charles Manson.

Zendik Farm Orgaztra - Danze of the Cozmic Warriorz (1988)

#newage #acid #wulfzendik
sotomayor
sotomayor
1 mar 18

DeRank™: 3,00

These days, prompted by one of the many suggestions from @ALFAMA, I revisited an old, shall we say, "acquaintance."

#buzz

Boduf Songs - Lion Devours The Sun (Kranky, October 30, 2006)

I dusted off this little disc from my old listens, released on Kranky Records in 2006. Boduf Songs is the project of Mat Sweet, a particularly sensitive singer-songwriter and musician who has been one of the most interesting artists for years when it comes to a certain folk rooted in compositional minimalism and who engages in long, often monothematic constructions of guitar arpeggios accompanied by true whispers and hints of experimentation that may remind one of the compositional style of Matt Elliott and the experience reminiscent of Third Eye Foundation. Perhaps Mat's style is more rustic and less neo-classical, closer to certain simplified forms of primitivism rather than derived from a tradition of electroacoustic chansonniers. "Lion Devours The Sun," as mentioned, came out in 2006 and can be considered a classic album in the style of the Southampton artist, with songs that may evoke a certain singer-songwriter vibe akin to Elliott Smith or even Conor Oberst himself, built on minimal arpeggios and arrangements that then expand into experimental noise experiences manifesting as long introductory sessions or noise coda, where a certain darkness permeating the writing of this author is fragmented into a thousand pieces and is annihilated by the overwhelming return of the typical light at the end of the tunnel. As sophisticated and elegant as it is essential, and this is a great merit.

#matsweet #folk #bodufsongs

boduf songs lion devours the sun
sotomayor
sotomayor
21 feb 18

DeRank™: 7,28

The little time available lately has forced me to neglect this review, but today here’s a new old proposal.

#zot2017

The Molochs - America's Velvet Glory (Innovative Leisure, January 13, 2017)

This album by the Molochs is certainly captivating, a California garage pop band led by Lucas Fitzsimons, which in the wake of some Ty Segall moments and groups like Allah Las offers sounds that are clearly vintage and reminiscent of the sixties ("No More Cryin'"). It features a certain beat and a mix of jangle pop ("The One I Love", "Little Stars") and rock and roll acidity ("I Don't Love You"), particularly due to the use of the electric organ ("Ten Thousand", "Charlie's Lips"), Barrett-like references ("That's The Trouble With You", "I Don't Love You") and Bob Dylan nuances ("You and Me", "New York", "You Never Learn"). Produced under the supervision of Hanni El Khatib, this little record probably doesn’t contain anything particularly original, but this is not one of those cases where the intention is to surprise the listener with magician-like tricks; rather, the goal is to engage them with distinctly pop and catchy tracks, focusing on the substance of things. In short, it's derivative but still feels fresh as if just printed in a revival of the classic jingle jangle and psychedelic pop tradition from the Beatles and Byrds to the present day.

#molochs #pop #jinglejangle

The Molochs - "No More Cryin'" (Official Video)
sotomayor
sotomayor
17 feb 18

DeRank™: 3,00

Dear @ALFAMA, if I had been born in Northern Europe my life would have certainly been better.

#buzz

Annexus Quam - Beziehungen (Ohr, 1972)

Also known as Ambition In Music, Annexus Quam (Peter Werner, Hans Kamper, Ove Volquartz, Harald Klemm, Martin Habenicht) was a collective of psychedelic music from Germany that emerged in the late sixties as a cosmic music collective but was mostly devoted to jazz sounds mixed with that sonic dimension known as kraut-rock (see particularly "Dreh dich nicht um"). The group released two albums. The second is this album released in 1972 and titled "Beziehungen," consisting of only four tracks dominated by a typically free-jazz imprint and jam band dedicated to improvisation with very particular harmonic constructions combined with a minimalism reminiscent of Philip Glass ("Trobluhs el e isch") and avant-garde experimental noise ("Leyenburg 2") which in "Leyenburg" culminates in a final surge with guitar work derived from the Hispanic tradition. Overall, in this case, it is perhaps the kraut component that is the least interesting. After all, it must be said that digging into German music from the sixties and seventies, this is not the first time one encounters such experimental recordings and groups that are also outside of those well-known canons and that, in a nevertheless parallel dimension mixed with the cosmic music of Tangerine Dream or the motorik of NEU! and the electronics of Kraftwerk, engaged in other genres like this little record here, which frankly is of disarming beauty and releases energy and feelings of freedom from the first to the last note.

#kraut #annexusquam #kosmischemusik

Annexus Quam - Troblush El E Isch (1972) HQ
sotomayor
sotomayor
14 feb 18

DeRank™: 0,00

Relentless Howe...

#zot2017

Arizona Amp & Alternator - The Open Road (Self-Released, February 02, 2017)

When I found myself with this album in hand, I frankly wondered, "Where did this come from?" I mean: a new album by Howe Gelb under the name Arizona Amp & Alternator just suddenly popping up from the sands of the desert while in the meantime he was recording and releasing two albums of "standards." Moreover, the project had been buried under the desert sands for more than a decade, since the release of the first album in 2005, which was truly a small gem featuring interesting and precious collaborations with artists like M. Ward or Scout Niblett. This one, more or less, collects a series of tracks recorded over the last five years. It's a kind of mix that, in the end, Howe skillfully pulls off: because even this non-formula ultimately convinces you of its worth, as the songs, interpretations, and arrangements work beautifully, regardless. Whether it's studio recordings or live ones ("Bottom Line Man"), solo or in company—sometimes with Lonna Kelley ("Left Of Center") and sometimes with Jason Lytle from Grandaddy ("Left")—the songs are beautiful and convincing, even as varied in content as Howe Gelb's astonishingly vast and limitless repertoire. Aside from the songs he wrote in the first person, I think he could practically play every classic standard of American song at the tip of his fingers, and it's precisely those impromptu interpretations that truly showcase his greatness better than anything else.

#desertrock #giantsand #howegelb

The Open Road | Howe Gelb
sotomayor
sotomayor
13 feb 18

DeRank™: 5,65

This group is clearly one of the revelations of the year: Holy Motors - Slow Sundown - full album (2018)

Between Morricone and Mazzy Star, between Jim Jarmusch and Miranda Lee Richards.
sotomayor
sotomayor
13 feb 18

DeRank™: 0,93

#buzz @[ALFAMA] here we are on a level of avant-jazz that is definitely high. A big band led by Martin Kuchen and the same rhythm duo as Fire! Still from Sweden...

Angles 9 – Disappeared Behind The Sun (Clean Feed, January 17, 2017)

Considered renegades by lovers of traditional jazz, the great classics and big bands like Duke Ellington’s, Angles 9 is a Swedish ensemble led by Martin Kuchen, a visionary saxophonist who has been on the scene for about ten years and has taken part in various experimental projects over time. This one is titled "Disappeared Behind The Sun" and was released last year by a label specialized in the genre, the Portuguese Clean Feed. Once again, we are not talking about an album that needs multiple listens to be appreciated. This avant-jazz proposal eludes any intellectual definition and simply invites you to be listened to, allowing yourself to be swept away by the beauty and variety of the proposed sounds. I must say that among the various experimental and avant-garde jazz proposals I have listened to recently, none have impressed me as much as this album by Angles 9. A true blend of sounds that seem to reference experiences like afro-beat or ethio-jazz and Middle Eastern or Eastern music; this album appears to transcend every possible boundary and in some way be the equivalent of punk for rock music and "Parson Sound" for European psychedelic rock. An album that could truly mark an era for the genre, but we will only discover that over time. Acidic, thrilling, explosive.

#jazz #avantgarde #angles9

Angles 9 ‎- Disappeared Behind The Sun - full album 2017
Similar users
Ociredef86

DeRank™: 4,96

hjhhjij

DeRank™: 15,25

S4doll

DeRank™: 2,48

llawyer

DeRank™: 15,28

orecchiodoro

DeRank™: 0,56

lector

DeRank™: 26,35

ZiOn

DeRank™: 25,46

Radioactive Toy

DeRank™: 2,71

macmaranza

DeRank™: 14,86

Nico63

DeRank™: 1,59

Groups
wearetheradio Comindeb ScieMenZiaTi MusicofiliAttivi RadioDelirio FdL
Rewards
june 2016
week 25 - 2016
week 16 - 2018
Gran Visir -la recensione