Stars Like Grains of Sand

Venetian Snares Rossz Csillag Alatt Született ★★★ There is a lot of hidden context behind this album and the songs within them. I don't think it makes that big of a difference knowing that context really; the mood of it should be enough to inform you of what is going on. The cover should help too.  But stepping into this is quite memorizing; at least the first four songs initially. But it hits some slumps and struggles to regain its feet. I do think this is a pretty fresh and captivating project but those attributes can only last so long. In many ways I see it as a little more tasteful version of a well done gimmick. It's essentially the same song twisted slightly depending on either the breakcore beat or the classical arrangement behind it. I do appreciate the sampling of 20th century classical music and the combination it provides within the breakcore genre. I'm sure it inspired some Venetian Snares fans to check it out, which is always a plus. But ...

Don Cherry Eternal Rhythm ★★★★ Don Cherry is one of those jazz figures that has been a great innovator but also a testament to everything that jazz has been and will continue to be. He's more than a trumpeter, he's a master in the genre and style. And I would argue that he was one of the greatest creator of the so-called "spiritual jazz".  Unlike those before him, Don Cherry really immersed himself in the different musical cultures of the world. That's why you can pick up influences from the Latin World, Africa, and East Asia and India. Not to mention the obvious basis he forms from jazz and blues music. Whether he's by himself or in a large band setting like this, he always seems to have control of the chaos; it's all formulated in his mind.  I will say that this extensive live performance is not a good start for most beginners of Cherry's music. There's a star-studded, transnational lineup here, and they make good use of th...

Philip Glass / Kronos Quartet Kronos Quartet Performs Philip Glass ★★★★ For most people I know who have listened to Philip Glass he is either a minimalist contemporary genius or a repetitive uninspired fad composer. So far, I associate with the first group of people. His music is animated; always driving forward towards something bigger than itself.  Kronos Quartet does a wonderful job at keeping all these quartet pieces lush and exciting. Especially starting off with the 5th string quartet; it's pure Glassisms all the way through. I would probably say it's my favorite quartet piece too. The 4th quartet shifts the mood quite drastically. It's somber, mournful and less animated. It's unlike Glass in many ways but it's surely some welcome variation in his music.  The last two quartet pieces, the 2nd and 3rd, are all shorter in length and to me a bit less worthwhile compared to the first two. The 2nd quartet is pretty quiet and relatively stable ...

Kayo Dot Choirs of the Eye ★★★★ I've never been a metal fan in all honesty, but that's ok. You don't need to be a fan of the genre to listen to this release. Interestingly enough on the Tzadik label, it combines certain elements that you'd expect from Zorn's label with this post-rock / metal instrumentation that makes for a truly unique listening experience.  It is chaotic, but not in your typical metal fashion; Kayo Dot truly makes an album that borrows a little from everything. It's the melting pot of avant garde during the 90's. There's many shifting moods that travel from the most meditative and airy to powerfully crushing and thunderous. And everything in between is part of the journey. The vocals seem emo like (they're not really my favorite part), there can be some GYBE material or some Sleep riffs. It can be classical it can be jazz it can be math rock it can be anything you want it to be really.  In many ways it presen...

Joe Henderson Our Thing ★★★½ Joe returns to Blue Note with a star studded lineup and a promising album. The avant and ever powerful, Andrew Hill. The flavorful and inspiring drummer, Pete La Roca. The bassist Eddie Khan, and trumpeter Kenny Dorham. I'd argue that at certain points it's almost as if Dorham takes charge, and three of his compositions are played out on this album. And when it comes to these compositions I like to think that Henderson's reign supreme. The songs by Dorham, which include "Pedro's Time", "Back Road", and "Escapade", all have a similar feel to them. They seem a bit sluggish and like to borrow off other popular songs. I do think that "Escapade" is the best of them, as Joe really puts his soul into that piece, bringing some real life.  Throughout the album actually, this rhythm section kills it. Hill and Roca paint beautiful landscapes with their keys and drum sticks. And Eddie Khan is th...

Benjamin Fehr The Truth is Not Outthere ★★★ This Nervmusic label has been pretty great so far, with some hard hitting Russian techno bangers. Exactly what you would expect, also their artwork is great. This release is a bit different however, a couple of the tracks are a bit more experimental and unclubfriendly.  That being said, I do think they're the weaker tracks on this EP for sure. While I appreciate the effort, it's been done before and done a lot better. But starting off with the self-titled song was a great choice. You know it's going to be crushing right from the start. And at a never-exhaustive ten minutes long, this would be beautiful for keeping the groove going. Sometimes in the background this sort of metronome or stopwatch ensemble comes through, giving you this sense of urgency. That Berlin Dark. The next track, "What Do You My Track?", is a bit more collage oriented. There seems to be samples of bloops and bleeps, all from a...

Jon Gibson Two Solo Pieces ★★★ Jon Gibson follows a certain school of minimalists in the vein of an early Steve Reich or Terry Riley. This release on Philip Glass's label is an example of just that, a simple but useful album that showed what was brewing up at the time. Made up of an organ piece and a flute piece, it's reminiscent of Steve Reich's earliest works, such as Four Organs: Phase Patterns . While this was new and innovative for the time, now it pales in comparison with what came after it. It's only a piece of history which is important, but has since been greatly expanded upon by many; even Reich himself.  The organ piece is undoubtedly the better of the two, and really I recommend only listening to it for that wonderful work. The slight shifts and changes are hard to pick up on the first listen, and with an organ that's quite astonishing. It's expansive and heavy, like those lead blankets you get thrown on your chest for an x-ray...

Abbas Kiarostami زندگی و دیگر هیچ  [Life, and Nothing More...] ★★★★ ½ Kiarostami has been one of my favorite directors of cinema in recent years. Especially after his death I felt the need to watch some of his films. The context behind this film is important in understanding it further, while it's not completely crucial and many viewers could probably put the pieces together. It's the second part in a trilogy of his films that all take place in Koker, this one being filmed after one of the most devastating earthquakes in Iran, more specifically in Manjil.  The plot focuses on a director and his son trying to find a boy from one of his films (the first part of the trilogy) after the complete destruction of region by the earthquake. But in my opinion the film is less about the main plot, but more about the interactions between people that happen all throughout. From the insightful observations of Mr. Ruhi to the tragic events told by people who speak of t...

Steve Lacy Reflections ★★★★ One of Steve Lacy's earlier recordings as a leader, and it really shines. Firstly the lineup is pretty impressive: Mal Waldron on piano, a prior-to-meeting-Coltrane Elvin Jones, and the very versatile Buell Neidlinger. Not to mention Lacy as saxophonist, and more importantly one of the first to truly record a whole album on soprano.  Secondly: these are all Monk compositions preformed extremely well; Lacy helps break it down almost to a science. And I'm happy that he made good of use of some of the lesser known Monk compositions. While not as wildly popular as "'Round Midnight", I think these songs show his wittiness and humor.  Opening with "Four in One" was a great choice, and is probably the most fun and flavorful tune on the first side. It's catchy and clever, and Lacy really owns it with that soprano. Throughout this whole album as well, you can hear Elvin Jones putting color and focus into the ...

Kerri Chandler Essential Mix (9/3/06) ★★★ The BBC series of essential mixes have remained somewhat of a constant in my life for the past four to five years. They provide a pretty substantial amount of content within their couple hour long mixes; providing a look into the material the artist focuses on or how they've changed or adapted over the years. 2006 was late in Chandler's career, which has been popular from the early to mid 1990s. You can tell that he is bringing a more modern and popular sound in this mix, but by no real means does that lessen his work. I've always thought that the best house DJ's shouldn't have to worry about creating music, more providing the material or the basis for people to express themselves further. And that vibe is quite apparent here; this isn't for the heady or introverted, but more for the current popular house clubs of the modern day. That being said, I'm not a huge fan of some parts of this mix. A ...

Meredith Monk Turtle Dreams ★★★★ Monk has always been one for the playful and open minded, and this album is no different. In fact it sounds like the most fun she's had on any record so far and it's even enjoyable to hear her creating such an intriguing, almost childlike album. Full of innocence and wonder, it makes any person feel like they're discovering the human voice once more.  The first song is nearly 18 minutes long and works quite well as a summary of her musical work and statement. The second song seems to taunt you, especially with the vocals which have been riddled with some effects. I do really enjoy the piano playing on it however. The synths too are pretty funny, like an 8-bit game. These two are the longest songs and arguably the most effective on the album.  On "Engine Steps" Monk takes you to the play set; toy trains and wooden blocks. This theme continues on "Ester's Song" with the keyboard pattern that is br...

John Coltrane Meditations ★ ★★★½ The album which many consider the true religious and spiritual successor of A Love Supreme. And for the most part I really agree with that. This sextet made up of Coltrane's original quartet along with Pharaoh Sanders and Rashied Ali shows Coltrane at a pivotal point in his career. His shift to absolute freedom and method of testing his own instrument's will, is quite evident here. This would be the last time Jimmy Garrison and Elvin Jones would be recorded with him as well.  The first track, "The Father and The Son and The Holy Ghost" is an absolute fire starter; right as it begins it gives this alien and distant feeling. Only to transform into an unstoppable force of energy, and each of the players are a cog in that disruptive machine. From that point on, on songs like "Compassion" and "Love", the band cools off. Trying to serenade and woo the listener with its dark magic and unholy worship. God...

Phill Niblock Nothin' to Look at Just a Record ★★★½ Niblock's work is intense, not in the way of say free jazz or improv, but because of its density and on-the-surface simplicity. When you dig deeper into his drones however it's quite obvious that there's nothing simple about his music. Each piece is living and massive.  Listening to this you can pick up some of the music that inspired Niblock, such as the avant music of the time. People like Tony Conrad or La Monte Young, he brings his own approach to what they had already paved out in the music scene. There's only two pieces here; both simply made up of trombone playing and edits. The first piece, aptly named "A Trombone Piece", is a drone that shifts in and out of two main areas. One is light and fluffy, while the other immediately sinks to the darkest reaches of the Earth's core. I prefer the second, but it's quite lovely to see the transformations. Each one seems to hit you l...

Olivier Messiaen / Tashi Quartet for the End of Time ★★★★ Messiaen's quartet composition for the end of time fits quite well with the context of this piece and what many could interpret as an end and rebirth to everything. Supposedly Messiaen was stuck in a prison camp during the second World War when he composed this and had it performed. I really wonder what that would've been like to see and hear. Also this quartet is not the usual classical quartet; it's made up of a clarinet, piano, violin, and cello. Almost jazz-like in its instrumental choices.  From its bird song-like and organic beginning, the end of time seems somewhat far away, but nearly foreshadowed. The second movement starts and ends in this tense and very faced paced phrase while the rest of the time the piano and violin seem to meander, scouring the land. The third movement is a solo clarinet piece, which is really unique and ear grabbing. The clarinet seems to also be searching, without an...

RAMZi Phobiza: "Noite" Vol. 2 ★★★ To be quite truly completely honest, only was attracted to this album and the first volume because of the covers; which are a direct copy of the BYG Actuel style. But I am pleasantly surprised with what I hear, even if it isn't that groundbreaking or new. RAMZi who is a female DJ / Producer from Canada, emerges with a sound that not many other modern electronic producers are taking on.  In this field of electronic music there are very few who are taking this route, many like Oneohtrix Point Never, turn their surroundings into these cold, industrial soundscapes. While RAMZi has gone in the complete opposite direction, utilizing native instrumentation and the sounds of the jungle. The playful and curious sounds from birds, water drums, and shimmering synths are put side by side with these choppy, wordless vocals that seem to be run through some type of vocoder.  The reason I don't think this is a very new concept ...

Charles Gayle Touchin' on Trane ★★★★ ½ Simply one of the best examples of truly free music in the decades after Coltrane. Also a clear and expansive representation of what Coltrane's legacy means to so many artists. This is an incredible lineup as well; the holy and unrefined sound of Charles Gayle is transformed here to show the range and precision that Coltrane had. William Parker is consistent and shows what he does best with his expressive and rhythmic bass playing. Rashied Ali comes through fairly restrained but also as a constant driving force that only he could channel.  I will say that this is probably one of the more accessible works from the FMP label, especially from Gayle who sounds more focused and melodic than ever. While this is in the more traditional style of jazz music, it's quite clear that each player hones in the spirit of Coltrane's music. They are the physical representation of Coltrane's ideology, only expanded upon and upd...

Julius Eastman  Femenine ★★½ Julius Eastman's recent resurgence into the avant classical scene due to some physical issues of his pieces, is a pretty interesting and important event. From what I know Eastman stood out as an openly gay and black man. And after hearing Unjust Malaise  it was easy to tell that while he was inspired by other minimalists, he had a style all his own. Not to mention the very upfront and confrontational titles of his pieces. Like the rest of his issued material, this is a live performance and not a very well recorded one either. The motif at the beginning is repeated throughout, with Eastman bringing his jazz background onto the piano and the rest of the players joining throughout. I do appreciate the improvised sections that are sometimes produced throughout the piece, as this is something you don't really see in the music of other minimalists of the time. It produces a layer of warmth.  My major issue with this lies ...

Bill Dixon Son of Sisyphus ★★★ Bill Dixon's work has shown to be quite unique and abstract, here he reaches for that same sense of abstractness but for me, it falls a bit short. While the atmosphere is quite palpable and quartet choice is interesting (the usual bass and drums, but also Dixon on piano and trumpet, and a tuba player), it fails to reach any peaks or rewarding moments. I really commend Dixon's continued approach into the unknown, or unexplored regions of jazz; pushing the boundaries on not only what could be considered jazz music, but music in general. The fluid filled and jagged textures seep through every part of this album, and in effect it stays fairly consistent and whole. I just have more of a problem with the restraint it seems to have. While I do appreciate the use of space and silence in any piece of music, it seems that this didn't really come off as intelligent as it could have. Especially with an instrument like a tuba at your...

Cerberus Shoal Homb ★★ ★ ★ I know that a lot of Post-Rock gets pegged into this one off style of just GYBE-climaxes, but I'm glad to see some more experimentation going into play. The cover for this album seems somewhat ancient but in a futuristic way, and by that I mean it looks like space age technology with a primitive design to it. I think you can apply this to the music as well.  "Harvest", the first song on here, is a drone-like piece that uses samples from what could be a HAM radio as you travel through space, but at the same time everything is decaying due to the overpowering light and radiation expelled from a star. "Omphalos" is probably the song most Post-Rock heads would like the most, it is similar to GBYE at certain points but the unique instrumentation and great horn section sets it apart.  The last three songs are all one piece that's split up. It starts pretty simply and calm, like a wind chime on some isolated corn fa...

Anouar Brahem The Astounding Eyes of Rita ★★★½ A very sensual and enticing release from Brahem, the master oud player. The cover alone imparts some feelings of the relationship between old and young, modernity and antiquity. But this whole album, while having that "ECM Sound", is able to distinguish itself from the rest of the crowd in its uniqueness and passion.   Brahem mostly provides the background on this album, allowing the other players to come forth and shine under his cloudy cover. It's not a totally Arabic sounding album either; the addition of clarinet and bass adds so much to this that it would be hard to imagine a better album with traditional instruments. The whole album shifts from this high energy, emphatic style to a more airy and spacious playing that allows you to fully absorb the remainder of their talents.  I would've liked to have seen more experimentation throughout, especially with textures or more improvisation. Th...

Frank Lowe Fresh ★★★½ Frank Lowe is one of the great saxophonists who came after the reign of Coltrane and Ayler, not exactly as revolutionary as them, but he helped expand their ideas and keep it alive. Just as important as later artists such as Charles Gayle. And this recording is a bit different from his previous sessions, a little more restrained but there's definitely parts where he fully fleshes out his shrieks.  There are two Monk compositions on here, which turn out pretty well. Especially "Misterioso" which contains a lot of bubbly and fluid textures. "Epistrophy", the other Monk tune, has a killer rhythmic bass line from Abdul Wadud and some great airy playing by Lowe.  "Play Some Blues" is almost humorous in a way, it begins and ends with this pretty upbeat and static lyric and travels from the ends of the earth and back in only five minutes. "Fresh" is probably the most powerful and engaging song on here and...

Frédéric Chopin /  Artur Rubinstein  The Nocturnes ★ ★★★½ I feel like I always get lost inside of Chopin's music. It's unlike a lot of music in that I try really hard to analyze every sound, every texture; but I'm unable to completely wrap my head around it. It surprised me when I found out all these pieces were composed during a twenty year period. But as you search into the changes of mood and complexity, it makes more sense.  This album contains some of the most organic, warm sounding, and natural playing I've heard. The recording is crystal clear and it all feels so genuine. Exactly like the processes of nature; whether it be a tree growing, a stream of water traveling from one rock to the next, or a bee pollinating. All these natural events are whimsical to us, until we learn about the sciences behind it; then it all seems so meticulous and mathematical.  This music however is able to keep that magic of the unknown. It's very intellig...

Eliane Radigue ‎ Adnos I-III  ★★★★ Some people might think that drone music can't really be done wrong, or that it all sounds the same. I haven't really agreed with those critiques and I'd like to point out that this gigantic album, along with Radigue's other pieces, are all examples of what amazing drone music is.  This monolithic 3 and a half hour release is almost unholy in its length. The good thing about this length is that it allows me to focus on each piece more than I would otherwise. Starting off with the simplest and most appealing piece, "Adnos I" is like your typical open country grazing field. It's familiar, relaxing, and beautiful unlike anything else. "Adnos II" is more disorientating; everything seems stagnant but underneath that initial drone are layers of tiny moving parts that are an environment of their own.  "Adnos III" is by far my favorite piece and the most diverse. It starts off like a stil...

Stephan Micus Wings Over Water  ★★★ I was pretty unimpressed with one of the other Micus releases I listened to so I wasn't expecting that much going into this. Glad to say that it exceeded some of my expectations. He stays true to his encompassing "world" style of music, which includes instrumentation from regions all over the globe.  The first track is a good starting point for I'd say Micus's style in general, with its middle eastern flute and backing guitar. The second song features his vocals, which for me, left a lot to be desired. From the end of the third track on it's actually a pretty cohesive and interesting project. While I do respect his immense talent in being able to play such a large number of instruments, the magic of it is sometimes lost on me.  Another thing is that this music seems somewhat fragile; way too much, and in that sense also unsure of itself. Like a really weak and thin glass vase that while might initially...