/Space rock, Improvised music, Psych-rock, Avant-rock,
Electronic, Art rock, Fusion, Experimental rock, Jazz rock, Avant-prog, Kosmische Musik/
Comment:
any time I feel tempted to
repeat what I have already said in earlier reviews and add something new to more
recent issues with regard to Joxfield ProjeX, the Swedish magical duo of Janne
Yan Andersson, and Stefan Oax Ek. I recommend search for my interview with
Stefan at Recent Music Heroes taken approximately four years ago where he cast
light upon their activity, influences, history and something else. More
concretely, they are two gentlemen from the two biggest cities In Sweden who
started their collaboration exactly 50 years ago while doing it for 10 years.
However, their new activity in the embodiment of Joxfield ProjeX was born in 2005
in a small village (Kolpebo) somewhere in between Gothenburg and Stockholm.
They just decided to gather over there to create and produce music for its own sake. Indeed, what dedication! Most albums produced so far are being released
on their own imprint Tin Can Music, and Moscow-based Clinical Archives. This
year, however, they issued a vinyl release, called Casino Royal in collaboration with Acid Mother Temple`s ex-singer
and synth player Cotton Casino. The pre-eminent outing was released on Bam
Balam, the legendary French imprint for innovative rock music since 1982. Hurry up, it is the limited edition only! Besides, they have collaborated with such progressive rock luminaries as Geoff
Leigh, and Pat Mastoletto, and digital culture sociopath Kenji Siratori during
this quite short span of time. By the way, Acid Mother Temple`s frontman Makoto
Kawabata featured at Submarine Trees
on Casino Royal.
At Archives
EP – Dark Castle all the sound is produced by themselves only which does
not surprise because the EP is a part of the Archives EP series, a bunch if
issues which used to reflect upon their early doings in the 00s. It consists of
two compositions (Dark Castle; Heavy Oax Missing) replete with more hidden
or unveiled sonic layers. The sound is mostly improvised, yet, it chimes in the
way the process to be properly managed. And it is actually very fine because
allowing to get more focused and bring forth more ingredients and flavours from
within. Despite it the more you listen to it the more you will experience
vertigo and feel how your foot lose touch with the ground. By regarding the psychedelic
music it is the very goal on its own. Musically there are represented incisive
guitar strokes and deliberately dysfunctional guitar riffs (reminding of Jimi
Hendrix at times) which are permeated with haunting fusion-alike chord
progressions and eerie woodwind whiffs somewhere in the middle of it. The other counterpoints come out from rhythm fuelled levels – those obsessively monotonous
punches only accentuate the glowering nature of the issue even more. Highly
recommended.
