Comment:
Firstly, it is an unusual case; it does mean one has little chance to find out
such sort of music daily because there is little such kind of music around. If
I’m saying it is either a case of art rock or progressive rock then I have
described it partly only. Secondly, it is an idiosyncratic case getting its
boost and apparent inspiration from the Russian culture, from its glorious
part, which is antagonistic to its inferior, the so-called blatnoi (thug) culture,
which cropped up in prison camps in the Soviet Union during the dictatorship of
Joseph Stalin. More profoundly, the issue is highly dreamy as if a reverie
stuck between reality and a hypnagogic state. At times it is imbued with
naivety yet fortunately it will not turn to be pathetic because the nature of
the issue is candid and properly emotive. If to trying to date it this would
probably have happened in pre-historic times when reality and dreams and fears
come into one, when imagination and real things had had a common part. And one
had to come along with it. Of course, the forest was the uppermost ambience and
catalyst for such sensations to Slavic and Finno-Ugrian tribes. In a word, it
was a realistic place, it was a hyper-realistic, and it was a surrealistic
place at the same time. Furthermore, it seems to be filled with a religious
content though being laid down implicitly, not in a raucous manner. For me,
Ilya I Alisa embodies a modern touch by sketching it quite similarly to Animal
Collective in the USA who had principally done it on their two first albums. Of course, by saying it I admitted a little coefficient to the
proposition. Last but not least – by listening to this 12-track issue on the
tape, which is a part of the catalogue of Tallinn, Estonian imprint Trash Can
Dance, it was something of a ritualistic act to change the sides of it. In a
nutshell, it is a staggering outing by Ilya Bogatyryov, which was firstly
issued digitally in the beginning of the 10s.
Comment:
Wild Man Riddim`s self-titled issue is the first entry of mine at Oslo,
Norway-based site MarsMelons and by listening to Wild Man Riddim`s nine
compositions I am convinced to come back to the imprint’s catalogue for more
times in the near future. Of course, today is Sunday (indeed, I began to love
this day stepwise) and the weather in the morning is idyllic and the air is
refreshing being imbued with spring tastes and rainy breezes. Brage
Rognlien-headed combo, involving a couple of black musicians to deliver vocals in some tracks, improvises with Jamaican reggae rhythms and ska thrusts, however, frequently
searching for more funky and psychedelic sound (I adore those dusty reed organ and brass chords moving in and out of the mix!) thereby coming close to
Afrobeat/funk/futurism, which roots come from Nigeria, and Ghana. Additionally,
the group elaborates music of such jazz and improvised music juggernauts as
Herbie Hancock (Cantaloupe Island), and Dizzy Gillespie (A Night in
Tunisia). Mostly it chimes as an accompanying music instance while one is
doing something else rather than concentratedly listening to music though there
are up moments to provide more depth, work out more complex structures and show
up more vivid ambition to make difference (for instance, Big Difference).
I guess the ensemble`s live may even be more amusing than just having a listen with
the headphones.
Comment: I
guess anyone who adores music in general and especially music of different
sorts does have his/her own personal imagination of certain styles. For
instance, how could you imagine house music for yourself? Is it something of
music to be imagined to those people in the middle of a dance floor or could it
have cerebral dimension either? Flady`s 5-track outing emits both tendencies
very clearly. Furthermore, the thing I truly like is the artist’s eagerness to
push it forward effortlessly, for now and then the beats are elegantly unkempt
with regard to the frequencies of the album (at Fake Crawl) therefore
adding a refreshing, even transgressive dimension to the whole. Mostly it is
deep house music, I can think of Chrinonex Fleckeri as being a perfect
accompaniment to fall asleep eventually while you are reading a book. On the
other hand, the artist exploits frequently uncanny vocal samples and other kind
of outtakes to disorient the listener. Most remarkably it has been drawn out at
Counter Old Sky, and because of that it is a decent foray of the course.
Another exception is Feel or Pig or Pigs, which contains a mind-blowing
brass hook though in the beginning of the composition the observant listener
could perceive krautrock and post-punk influences either (all is logical,
isn’t?). In a nutshell, it is a charming dance and listening session in the
night zone. Especially I recommend a listening today while you are boycotting
the inferior Eurovision “song” contest. The issue is a part of the
discography of the Japanese imprint Bunkai-Kei.