Friday, April 29, 2011

Jefre Cantu-Ledesma and Barn Owl

27th April 2011 - Cube Cinema



Jefre Cantu Ledesma, of Tarentel fame lingered in morhphic clouds of sound, puckering them in nodding spasms and guitar crackle. Ugly feedbacks growing out of this, sucked back into tidy hooks of syncopated ambience, gelatinous drones and pulsing filigrees of harmony...



'Little girl lost' vocals from Lisa McGee (vestals, Higuma) flowing through the spider veined statics, all phantomised and enticing. Vocals that sounded like distant wood pigeons trapped behind tracing paper or at other times, like a swallowed shadow in a metallic zest... Really liked the dusky Durutti Column guitar fragments breathing out their lightness and the way they would later curdle in agitation and blistered envelopes... those rolling swells of water were lush too, sandpapered my mind in imagined surf and then that deeply immersive finale, like some electrical christ causing closed eyes and curling toes... slowly fading away on hushed vapour... very stylish machine locked wares indeed, really regretted not picking up that solo LP of his...





San Francisco's Evan and Jon continued the lush vibes, their umbilical circuitries and duel guitars carving it up in shamanic hues. Splitting the bass and treble between each other like ying and yang reflections, they sent cosmic swirls of loopage into a fractured majesty.



Filthy, overloaded plumes later cut into your head in piercing hum... an ugliness thrown backwards into a washy séance of slippery strings and slow bled Earth like autopsies. Sitar like fingers, contrasting nicely against the deep chord plummets, the pock marked and bleached projections behind, testament to the meditative confetti dancing the inner ear...



The architecture, like the gothic floods of Karl Junkers or the misshapen biblical treescapes of Dinsmoor unfurling... a teasing of shape and texture, I really felt a part of me was slipping away along with it all, disentangled from the tyranny of gravity - totally captivating. 45mins without a single let up in intensity... leading to a 15min encore that was just as satisfying (if not more so) as Jefre Cantu Ledesma's vibrating ballerinas added a melodic counter to the duo's snaking intentions...



Monday, April 18, 2011

Forgotten Classics #3 - Los Microwaves - Life After Breakfast



Mornings often leave me feeling like i should be asking this question more

Saturday, April 16, 2011

The Doomed Bird Of Providence - Will Ever Pray



This flows with a sadness akin to Matt Elliot’s drinking songs, those upright piano bones throwing woe through a salty squeezebox exhaustion… A certain Cave-esque atmosphere in the spoken embers, that rugged gnaw of a vox giving me proposition type connections, vivid tints of 19th century hardships… The first track's spidery chords setting the scene... bowing out on a lush violin screech, like the sting of hemp burnt palms … those tightening notches reminiscent of noose holds…

Lighter melodies counter the prevailing dirgy vibe, an addition / subtraction that goes on throughout as the narrator relates his grisly tales… When track three’s percussion sounds akin to a detached appendage lazily slapping a lifeboat’s side, it’s tied up by a sparkling meander of guitar... a flourish that rises above the solemnity … Later, a quickening harpsichord swallows the bodhran skin and funeral piano to the same effect, in fragments of moonlit madrigal. A Gilmore-esque electric guitar strengthening the refrain momentarily… until that squeeze box exhale reclaims it’s grip and hope flows through your fingers like sand…

'Slowly detaching limbs from bodies…' goes the narrator, later adding
'ammonia and vinegar to suffocate the rot’ the gaseous key changes strengthening impressions…

The second half focuses its attention on a nautical massacre… real or imagined spread over five parts... though the body count doesn't stack up to Stagger Lee or O'Malleys Bar proportions the atmosphere is lovingly sordid with instrumentation authentically lamp lit.

A catastrophic fog of a violin/squeezebox drone starts part one... gathering its wares to a deliberately pensive horizon… Pleasant melodies flow over this deep underbelly... teasing you away with a double bass sucking at the tension, letting it flow in regulated chunks… fading nicely to muted wave breaks.

Further on, a Parisian accordion and sea-shanty shin slap introduces the
murderous deed with Pogue-esque glee…...with the next track documenting the throat slashing with an appropriately hollow sounding sinew of guitar, clipping the sanguine motifs swimming over it... as the Captain's sticky entrails are spread over the decking.

Later a two finger piano drips casually through rigging, as sweeter melodies spur off that accordion and bass combination… float around like drowned girls hair… bounding out on musical box spans… a beautiful lament that bleeds into a popular nautical motif that ends the album… this seems a bit throw away until reverb sends it into the past tense and a crashed wave kills it stone dead.

Wednesday, April 06, 2011

Bi-o-graph



While on the subject, had my head in this since Saturday... it's an oldie... picked up for a steal at the local book shop... been a devoted fan since listening to From Her to Eternity and luckily this biography finishes off just before my listening relationship with Saint Nick soured... Usually books take me an age to get through... on account of my dyslexic head, but I'm whizzing through this with only two chapters to go... A bit journo scrapbook in places, with Cave's words only coming across through the medium of press cuttings, but plenty of supportive material from the rest involved - gives a pretty vivid picture... The mayhem of the Birthday Party years is particularly superb... lots of dot joining and insight, leading to welcome dips back into the recordings...

The Other Nick Cave...



More soundsuits here and a brief explanation from the artist himself below