Такая вот "музыка для танцев" от замечательного композитора и гитариста Фреда Фрита (я пишу тут в кавычках - а оно ведь и вправду для танцев писалось...). Диск был изначально выпущен как двойной LP, треки с четвертой стороны LP (третья часть альбома под названием Propaganda) не вошли в более позднее переиздание на CD, и сегодня мы их не услышим. На большинстве инструментов тут играет сам Фрит, помогают ему Джон Зорн, Тенко, Кристиан Марклэй и Джим Стэли.
Что пишут
"Sadness, Its Bleached Bones Behind Us," and "You Are What You Eat" are unrelenting slices of hard-edged sounds over a pulse. "The Palace of Laughter, The Technology of Tears" is an imaginative, intense, varied suite comparing music which represents the past "frozen tears" of sadness -- displayed as images before us by the media, etc. -- with the "hot tears" of the moment that cannot be absorbed by technology. "Jigsaw" and "Jigsaw Coda" (1986) creates patterns with constantly shifting accents and sub-divisions..uneven pieces to be fit together..."Propaganda" (1987) music for a theatre production is a series of brilliantly evocative soundpieces with electronics, guitar, and sound effects...feedback and explosions in the distance, tantric harmonizing in the desert, "A deeper understanding of conflict", "The Relentless Landscape," "The Excellent Hyena," "The Wolf Demon." With John Zorn, alto sax, Tenko, voice, Christian Marclay, turntables, Jim Staley, trombone.
"Blue" Gene Tyranny
О диске
Track listing:
A. The Technology of Tears: 1. Sadness, It's Bones Bleached Behind Us (13:18) 2. You Are What You Eat (18:45) 3. The Palace of Laughter, The Technology of Tears (10:21) B. Jigsaw 4. Jigsaw (14:47) 5. Jigsaw Coda (3:07)
Total Time 70:18
Musicians:
- Fred Frith / all instruments except as noted - John Zorn / Alto sax (1,2,3) - Tenko / Voice (1,2,3) - Jim Staley / Trombone (4,5) - Christian Marclay / Turntables (1,2,3)
Еще один невероятный и улетный альбом уникальной группы, на мой взгляд - интереснее более ранних работ, а еще - он более холодный и отточенный. Впрочем, это уже несколько другие 5uu's - с вокалом Деборы Перри (Thinking Plague) и бас-гитарой Кита Максуда (Present). Изначально музыка записывалась для третьего альбома U Totem - но этим планам не суждено было сбыться, и Дэйв Керман использовал материал для нового альбома 5uu's.
Что пишут
Regarding Purgatories marks the beginning of a new incarnation of the 5uu's. Dave Kerman took greater control over the creative process, changed the official name of the group to "Dave Kerman/5uu's," and got a new vocalist, Thinking Plague's Deborah Perry. He also started branching out musically -- the album contains both a greater variety of compositional techniques and some longer, more abstract pieces than had appeared on previous 5uu's releases.
"Meteora," the album's wonderful opener, is a great example of how 00s 5uu's differs from 90s 5uu's. Not only is it completely instrumental except for some distorted Medieval-ish chants that slosh around occasionally, but the first two minutes consist entirely of ambient synthesized foghorns and piano strings being scraped with keys. And when the drums and bass do come crashing in, it's simply amazing, especially when they're joined by a surprisingly Thinking Plague-like angular guitar line to create one of the most propulsive, satisfying passages the band has ever done.
This is not to say that all of the album is so abstract -- Kerman has certainly not given up his talent for catchiness, and "Drachma" could almost be an avant-prog single, with its infectious, convolutedly folky melody and well-placed solo for walkie-talkie feedback. But it's nice to set this off against pieces like "Half-Akin to Gladsome," an intermezzo for voice and piano that's more delicate than almost anything on Hunger's Teeth. And it's hard to argue with the viscous, bubbling, brilliant organ solo in "String of Hey-Days" (which actually reminds me of a much more aggressive version of James Grigsby's work in U Totem), or the unexpected vocal part of "Pinwheel," in which Perry's voice splinters into four different tracks and reflects off itself, simultaneously extremely strange and indescribably beautiful.
I have to admit, not every piece on the album is perfect. A few tracks, like "To Fall on Deaf Ears part one," drag a little in places, and Perry's attempt to sound like Dagmar Krause at the beginning of "Stand On Ceremony" is pretty weak. While the epic "To Fall on Deaf Ears part two" is mostly excellent, complete with a powerful, ponderous and extremely grim-sounding middle section that puts Univers Zero to shame, it ends so abruptly that it sounds like they ran out of tape while recording it -- a rather jarring effect whose aesthetic purpose continues to baffle me. Still, the amount of good on this highly underrated disc so outweighs the bad in both quality and quantity that I think Regarding Purgatories may be my favorite 5uu's album. Anyone hesitating to buy it because of the flak it sometimes gets on r.m.p, I urge you to keep and open mind and give it a try
Alex Temple [May 2002]
О диске
Track listing:
1. Meteora (7:31) 2. Pinwheel (5:12) 3. Belew And Beyond (5:14) 4. To Fall On Deaf Ears - part one (4:51) 5. Half-Akin To Gladsome (1:44) 6. Drachma (4:28) 7. First Person Jocular (4:36) 8. String Of Hey-Days (2:40) 9. Day 29 (2:18) 10. Gordian Knot (4:44) 11. Stand On Ceremony (1:43) 12. To Fall On Deaf Ears - part two (10:35)
Total Time: 55:36
Musicians:
- Dave Kerman / guitars, keyboards, drums, percussion, occasional bass & vocals, tapes, noises etc. With: - Deborah Perry / vocals - Keith Macksoud / bass - Mark McCoin / exotic percussion, unconventional soloing - Sajay Kumar / additional keyboards - Charles Turner / piano solos
5uu's - уникальная американская группа, проект барабанщика Дэйва Кермана (он также создал вместе с Джеймсом Григсби группу U Totem, принимал участие в деятельности Thinking Plague). Весьма непростая, но совершенно замечательная музыка, рекомендую.
Что пишут
Probably the most accessible and instantly likeable of 5uu's albums, but you still have to have a fondness for the avant side of prog to enjoy it. I bought my copy used from a prog fan who didn't like it, so it's not for everybody. Personally, I love the album, so his loss was my gain.
To give some idea of the popularity of this album among the avant crowd, when Thinking Plague played ProgDay in '99 (with Dave Kerman on drums), someone in the audience called out a request for "Well...Not Chickenshit". Plague bandleader Mike Johnson replied by a riff from the song on his guitar. "Well...", the opening song on Hunger's Teeth, is a classic, with catchy (if somewhat angular) music and lyrics about condescending things a boss might be heard to say at a 9 to 5 job. According to Kerman, the title was found when keyboardist Sanjay Kumar accused him of being chickenshit (heh, Word's spell-checker wants to change that to "chickens hit") for not attributing the quotes to the actual people who had said them.
The lyrics to "Roan" really hit me, because it expresses something that I have experienced several times, and thought it was just me being paranoid. It's specifically about the dangers of living in California, and wondering if the various disasters that occur there will damage your home. We don't have many earthquakes or riots here in semi-rural Pennsylvania, but I have been on my way home a few times, saw smoke on the horizon and started worrying.
"Mangate" is a minimalist, tape-manipulation piece created by Thomas DiMuzio. It has such a hypnotic effect, that I once missed my exit on the highway because that track had lulled me into a semi-trance. Very neat.
Those first three tracks are my favorite part of the album, but it continues to maintain its high quality throughout. The ground it covers ranges from a barbershop quartet singing about barbers to philosophy about a bachelor fumbling his way through mending his own clothes. Plus there's a running theme throughout the album that has to do with horses - the one pictured on the cover, the track title "Roan" (which starts with galloping hoof beats), the rocker "Glue" ("in time, sugar and horses will both become glue") that starts with the trumpet call that begins horse races, etc. Even the album title is apparently meant to be the name of a famous race horse. The more I listen to this disc, the more layers and tie-ins to various themes I find.
This is definitely a highly recommended album, if you're a fan at all of prog's more experimental edges. For those looking to get their first 5uu's album, this would be a good place to start (if you can find it).
review by Bob Eichler — 4-16-03
О диске
Track listing:
1. Well... Not Chickenshit (6:35) 2. Roan (3:03) 3. Mangate (2:55) 4. Geronimo (4:51) 5. Glue (2:41) 6. Opportunity Bangs (5:18) 7. The Shears (1:25) 8. Bachelor Needle (2:16) 9. Truth, Justice, and the American Way (5:35) 10. Equus (5:06) 11. Traveler Waits for No One (3:27)
Total Time: 43:52
Musicians:
- Sanjay Kumar / keyboards - David Kerman /drums, guitars, keyboards - Bob Drake / vocals, basses, guitars, violins With: - Thomas Dimuzio / electronics - Susanne Lewis / vocals - James Grigsby / guitar, vibes, bass - Michelle Bos / utensils, penny fountain, skydiving ocarinas, metal tables, creaks, blue rocks
Недавняя и последняя на сегодня работа инструментального американского камерного/рок-квартета из Милуоки (Висконсин). Очень интересный и разнообразный мрачный камерный рок в духе Univers Zero с виолончелью вместо гитары, можно услышать также влияние ELP и King Crimson. Ну и классических композиторов 20-го века. Басист группы - тот самый Вильям Копекки. Рекомендую.
Что пишут
Despite efforts to change its reputation in recent years, Milwaukee, Wisconsin still seems like an odd place to find a forward-thinking group that puts the “progressive” in progressive rock. Far Corner’s self-titled 2004 debut demonstrated that the most wondrous music can come from the most unlikely of places, and Endangered takes things a step further. Fans of Univers Zero (whose 2006 Cunieform release Live found its way onto many progressive top 10 lists for the year) will find much to like about Endangered although Far Corner can, at times, demonstrate a far more aggressive rock stance than the longstanding Belgian Rock-in-Opposition group.
The focus of this oddly configured group (keyboards, bass, drums, cello) remains dark-hued and, at times, ominous composition that references 20th Century classical music and ‘70s progressive groups including King Crimson and Emerson, Lake and Palmer in equal parts. The group’s first album consisted entirely of material by keyboardist Dan Maske, but Endangered’s title track takes an innovative and creative approach to collective composition. Much like a story round, where one person begins a tale and passes it on to the next person to enhance, augment and further develop, this twenty-minute piece evolves as each member of the quartet takes what came before and moves it forward.
The base textures of the group remain the same. Maske’s emphasis is on organ first, piano second and synthesizers a distant third. Cellist Angela Schmidt demonstrates the ability to be lyrical and delicate one moment, harsh and metallic the next as she adds distortion to her instrument. Uber-bassist William Kopecky assumes the dual role of rhythm section anchor and contrapuntal melodist, while drummer Craig Walkner is equally pluralistic as assertive propeller and textural colorist. Here, however, the group expands its sonic palette, with Maske adding trumpet and melodica to the mix alongside Kopecky’s spring drum and Schmidt’s violin and bamboo flute.
Improvisation also remains a fundamental component, despite Far Corner’s largely composed repertoire. It may alternate between regular and irregular meters, but the acoustic-driven “Not From Around Here” actually swings, featuring a lithe and passionate solo from guest violinist Jerry Loughney and an equally impressive turn by Kopecky. “Claws,” on the other hand, feels more like collective free improv despite Maske's compositional credit.
As undeniably talented Far Corner is, it remains clearly committed to the demands of the music, with none of the showboating or excessive self-indulgence that sometimes gives progressive rock a bad name. Endangered is an even better record than Far Corner by a group that is becoming more comfortable, cohesive and experimental while losing none of its edgy appeal.
By John Kelman, March 23, 2007
О диске
Track listing:
1. Inhuman (3:47) 2. Do You Think I'm Spooky? (6:41) 3. Creature Council (10:17) 4. Claws (5:14) 5. Not From Around Here (8:57) 6. Endangered (19:50)
Total Time: 54:46
Musicians:
William Kopecky - fretted and fretless basses & spring drum Dan Maske - keyboards, trumpet, melodica & additional percussion Angela Schmidt - acoustic and electric cellos, violin & bamboo flute Craig Walkner - drumset
Special guest: Jerry Loughney - violin solo on "Not From Around Here"
Music composed by Dan Maske. "Endangered" composed by Far Corner.
Третий альбом великолепной канадской группы - и достойное продолжение и развитие идей второго, одноименного диска. Добрый и доступный, красивый и крышесъемный авант-рок с солирующим саксофоном. Наилучшие рекомендации. Что пишут
No, this isn’t two albums on one disc ; it’s merely the French and English versions of the title. If you can deal with the gimmicky cover of the CD, the bilinguality of the song titles, and the progressively RIO bent of the music, Miriodor would be an excellent addition to your collection. Someone described them to me as « Univers Zéro in a good mood ». Lacking a better description, I’ll reuse that one. If you like the instrumental complexity and power of UZ, coupled with that band’s lack of any mainstream influence, chances are you’ll find 3rd Warning to your taste. And even if you’re a novice to the RIO sound and are looking for a place to start, Miriodor is probably the best place. They combine musical prowess and creativity with a certain amount of accessibility. While not lacking the dissonance of Henry Cow or Magma, they serve it up in smaller doses. A three piece, Miriodor consists of Pascal Globensky on piano, Sabin Hudon on sax, and Rémi Leclerc on percussion. All three double on synths. Leclerc drives home the UZ comparisons with his Denisesque classically influenced percussives. The others weave intricate melodies and counterpoint. For a threesome their sound is remarkably full - lots going on. While no individual instrument is doing blistering solos, they will impress you with mature, complex writing. Like most of my favorite bands, the emphasis is on the writing rather than the playing. The result is a tightly composed 45 minutes of excellent progressive music. I highly recommend this new Canadian band to anyone with an ear for experimentation.
Последний на сегодня студийный альбом группы. Замечательный диск, на предыдущие диски и похож, и не похож одновременно. Существенно добавилось синтезированных шумов и перкуссии (звучание даже иногда поздний Art Zoyd стало напоминать), из-за этого диск далеко не всеми хорошо принят. Впрочем, мне диск понравился, и, как мне кажется, в музыкальном плане группа тоже не стоит на месте.
Что пишут
I've finally accepted it. Daniel Denis and Univers Zero are not going to make another Heresie or another Uzed. The music of Univers Zero since they re-formed in the late 1990s is related to the music of Univers Zero 25-30 years ago, but only tangentially so. The band is, of course, known for their monolithic, extraordinarily dark and moody brand of instrumental rock; but more and more they have been ditching the creepy horror-movie atmospheres in favor of a more dynamic electrified chamber music sound. That evolution is most clearly evident on Implosion, the third "new" UZ album.
Frankly, while The Hard Quest was such a welcome comeback that I would have been overjoyed even if it had been mediocire, neither it nor Rhythmix have had much staying power for me. I find the longer, more open-ended, more oppressive compositions of UZ's earlier work more compelling overall. The new-school Univers Zero is still pretty unique, and still pretty good, but no longer completely enthralling.
That said, Implosion is easily my favorite of 21st-century Univers Zero. Compared to previous efforts, it's practically cheerful; while some of the interludes are ominous noise experiments (that, incidentally, don't really do anything for me at all), the compositions proper are surprisingly - and addictively - melodic. Only "La Mort de Sophocle" is a peek back at what was, with a slow creepiness that tantalizingly reminds of the older stuff. Denis' compositions have never been tighter - for better or worse - and the expanded instrumental palette already evident in Rhythmix is used to even better effect here.
In fact, a lot of the pieces here - "Falling Rain Dance", "Temps Neufs", "Mellotronic", to name just a few - shouldn't really be that scary even to those who shy away at the mere mention of RIO or avant-rock. Thanks to the newfound melodicism and, perhaps, the continuing growth of Denis' compositional experience, this is the most accessible UZ yet, and not at the expense of depth. So while fans of the old-school stuff like myself may still regret that the band has (probably wisely) moved on to create a new signature sound, there's no denying that the new Univers Zero is still a juggernaut of a band. Implosion is their best effort since those good old days.
Brandon Wu — 1-26-05
О диске
Track listing:
1. Suintement (Oozing) (1:13) 2. Falling Rain Dance (4:12) 3. Partch's X-Ray (5:21) 4. Rapt d'Abdallah (3:01) 5. Miroirs (Mirrors) (1:18) 6. La Mort de Sophocle (Sophocle's Death) (3:11) 7. Ectoplasme (1:07) 8. Temps Neufs (4:56) 9. Mellotronic (4:04) 10. Bacteria (1:28) 11. Out of Space 4 (2:52) 12. First Short Dance (0:42) 13. Second Short Dance (0:41) 14. Variations on Mellotronic's Theme (3:04) 15. À Rebours (In Reverse) (1:56) 16. Méandres (Meanderings) (9:38)
Musicians:
Michael Berckmans – oboe, english horn, basson Serge Bertocchi – alto, soprano, sopranissimo saxes, tubax Aurelia Boven – cello Daniel Denis – drums, percussion, all keyboards and samplers Dirk Descheemaeker – clarinet, bass clarinet Bart Maris – trumpet, flugelhorn Eric Platain – bass Christophe Pons – acoustic guitar Bart Quartier – marimba, glockenspiel Igor Semenoff – violin
Диск Early Plague Years является переизданием на CD двух первых LP уникальной американской группы - ...A Thinking Plague '84 и Moonsongs '87. Диск абсолютно невероятный, крышесъемный и совершенный в своем безумии, лично мне этот диск нравится больше, чем In Extremis '98. Однако, рекомендовать всем этот диск я опасаюсь. Для первого знакомства, пожалуй, лучше In Extremis.
Что пишут
Thinking Plague is a state-of-the-art American rock band with musical affinities to the Rock-in-Opposition movement. While it would be easy to imitate Henry Cow (or whoever) and boast a great accomplishment in profundity, Thinking Plague takes the high road and broadens the RIO ethic with groundbreaking innovations and eccentric songwriting.
On _Early Plague Years_, Bob Drake has taken the bands first two albums, 1984's _...A Thinking Plague_ and 1986's _Moonsongs_, remastered them completely and done some snipping to a few admittedly effusive sections in order to fit it all on one CD (any editing here is unfortunate but a fair tradeoff). Thanks to Drake, these albums sound great.
Thinking Plague, to most people, is abrasive, scary, and unmeleodic. I've heard the "nails on a chalkboard" description thrown around a lot. This is mainly attributable to their penchant for atonality, which is a common feature in their music along with long, complex songs and convoluted metrical changes. Personally I find Thinking Plague extremely melodic, catchy, energetic, and fun to listen to. Songs like "Warheads" -- an ominous composition with harsh, stark drums, mantra-like vocals, and angular, dissonant melodies (the final dirge is one of the most apocalyptic of things) -- and "Etude for Combo" -- an instrumental that was recorded live in the studio, and it like King Crimson possessed by evil spirits -- are definitive Plague songs. The two 15-minute epics, "Moonsongs" and "Thorns of Blue and Red / the War", are outstanding, multisectioned journeys through the dark, haggard forests around a sunny, happy prog town, full of great parts, especially the huge percussion jams in "Moonsongs". Actually one of my favorite parts in any Thinking Plague song is in "Moonsongs": the killer section where they play fast, repetitive melodic fragments of Susanne Lewis' sampled voice (it's MIND-WARPING), all the while the heavy bass and drums crash and pound with growing intensity. The lyrics of "Thorns of Blue..." are rather disturbing, as they were taken from a poetry book in the garbage behind a hospice. They have a very dark, imminent feel that goes well with TP's music. HOI. "How to Clean Squid" is insane discourse on, well, how to clean squid (lyrics taken from a cookbook), with a heavy rhythmic pulse and wacky vocals from Sharon Bradford. "Four Men in the Rain" sounds like a drunken string quartet on a submarine and "Collarless Fog that one day soon" is a strange, minimalist piece.
There is a close relationship between Thinking Plague, the 5uu's, and U Totem in both the members involved and the compositional traits of each. Each band is amazing and important, proving that American RIO-school bands are doing teh prog thing better than anyone right now. Explore all these artists and prepare to have your world expanded a thousandfold. If you're looking for a good place to dive right into these murky waters, _Early Plague Years_ is hard to beat. You'd have to be primordial ooze to not think this is brilliant.
"Moonsongs": 37:57 1. Warheads (8:03) 2. Etude for Combo (6:59) 3. Collarless Fog that one day soon (3:20) 4. Inside Out (4:12) 5. Moonsongs (original '86 Mix) (15:23)
"...A Thinking Plague": 39:49 6. I Do Not Live (5:02) 7. Possessed (8:17) 8. How to Clean Squid (5:01) 9. a light is on and name the world (1:28) 10. The Taste that Lingers On (2:06) 11. For Men in the Rain (2:29) 12. Thorns of Blue and Red / the War (15:26)
Total Time: 77:46
Musicians:
"Moonsongs": - Bob Drake / bass guitar, drums percussion, keyboards, voice - Mark Fuller / drums, timbales, simmons drums - Eric Moon / keyboards - Mike Johnson / guitars, drums, percussion voice - Susanne Lewis / voice - Mark McCoin / drums, percussion, voice, cheap sampler - Fred Hess / alto sax - Glenn Nita / soprano sax
"...A Thinling Plague": - Sharon Bradford / voice, casio mini synth, "drake noise box" - Bob Drake / bass guitar, drums percussion, guitar, keyboards, voice - Harry Fleishman / piano, organ,voice - Mark Fuller / drums, simmons drums - Mike Johnson / guitars, synths, piano, voice - Mark Bradford / voice
Такая вот "музыка для танцев" от замечательного композитора и гитариста Фреда Фрита (я пишу тут в кавычках - а оно ведь и вправду для танцев писалось...). Диск был изначально выпущен как двойной LP, треки с четвертой стороны LP (третья часть альбома под названием Propaganda) не вошли в более позднее переиздание на CD, и сегодня мы их не услышим. На большинстве инструментов тут играет сам Фрит, помогают ему Джон Зорн, Тенко, Кристиан Марклэй и Джим Стэли.
"Sadness, Its Bleached Bones Behind Us," and "You Are What You Eat" are unrelenting slices of hard-edged sounds over a pulse. "The Palace of Laughter, The Technology of Tears" is an imaginative, intense, varied suite comparing music which represents the past "frozen tears" of sadness -- displayed as images before us by the media, etc. -- with the "hot tears" of the moment that cannot be absorbed by technology. "Jigsaw" and "Jigsaw Coda" (1986) creates patterns with constantly shifting accents and sub-divisions..uneven pieces to be fit together..."Propaganda" (1987) music for a theatre production is a series of brilliantly evocative soundpieces with electronics, guitar, and sound effects...feedback and explosions in the distance, tantric harmonizing in the desert, "A deeper understanding of conflict", "The Relentless Landscape," "The Excellent Hyena," "The Wolf Demon." With John Zorn, alto sax, Tenko, voice, Christian Marclay, turntables, Jim Staley, trombone.
