Blaze Of Perdition - 2015 - Near Death Revelations

Blaze Of Perdition is a band with who I have a mixed relationship with. I saw them live twice and they were incredibly boring, absolutely no redeeming value. Felt like I'm seeing budget Mgla or something. On the other hand on albums they sound actually really fucking good. While most of their albums are either alright or better this one always stands out to me. Maybe this was because it was made after the band had some really tragic encounters with death and when they regrouped they had something of value to say. In terms of sound they definitely resonate some Mgla (and Behemoth during more chaotic segments) but I'd say they work on the guitar details far more than them and generally have a fairly different approach to writing. Every song has two or three things happening at any point giving them a good proggy and dynamic feeling. There's never a dull moment but songs sometimes feel a bit over designed at places, letting some riffs breathe more would elevate this great album into something even better. It's evident that they were brimming with ideas and they put most of them to good use and I think for a modern "Polish sounding" black metal album this one feels like an underappreciated gem honestly. Give it a chance, skip them when they're playing live near you.

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Herbie Hancock ‎- 1974 - Thrust

I feel like this Hancock album is often overlooked simply because of the fact that it came a year after the majestic and legendary Head Hunters. Sure, it is a superior album in both execution and ideas but Thrust can readily stand by its own as an awesome album made by Herbie during his prime creative time. While both albums a very approachable I think Thrust is a much more laid back and has riffs that are demand less of your focus. I don't mean that in a bad way by no means at all. There's nothing in it that's out to get you, everything just kinda flows together. The focus is still so much on keyboards but all the instruments are mixed at similar sound levels and I like that. It feels like the band is just one large stream of grooves. Awesome stuff.

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Wayne Shorter - 1964 - Night Dreamer

It has been a good long while since I've dedicated some time for Wayne Shorter but things have changed - today in fact! I was browsing through records at some small record fair in town and I stumbled onto this album. It made me realize that even though I've been into Shorter's solo stuff for years now I don't actually own any of his albums in physical format. This was the album at hand and coincidentally it's one of my favorites as well!

Wayne Shorter is a commonly known musician in the jazz scene but perhaps for those who aren't following it he's not a very exposed one. Shorter got noticed by Miles Davis and got him to play in his groups for a long time, recording many hallmark albums with him. But perhaps to outsider audience Shorter is more known for his work in Weather Report than for his solo or Miles albums but for me Weather Report is too tacky for the most part. In any case when he was starting up his solo career he did three records for a label called Vee-Jay and they're perfectly fine. They're modern be-bop and not much else. If you're into it you'll like and won't if you don't. After those three albums he got picked up by Blue Note and things started cooking.

Night Dreamer was the second Blue Note album that got released (Juju being the first one the same year). On here Shorter and his crew are given much more creative freedom and it definitely shows. It's still a post-bop record in tune with the times but it sounds so much more matured and figured out than those past ones. This record also features Lee Morgan (trumpet) who also gets to stretch his skills by playing less conventionally and less commercially viable (I like the dude but all of his  solo -albums are too much by the book). The approach to the whole album is a more relaxed and perhaps more meaningful approach to playing. There are no maelstroms of chords and riffs here, the playing is more precise, more aimed and less bloated. A good nightly record that has a lot of unique intensity for the time. Good stuff.

Get it in FLAC.

Sun Ra ‎- 1980 - Live In Rome

Live In Rome is a 2010 release of a live Sun Ra concert recording in Rome back in 1980. As far as sound quality goes this one is pretty great for a Sun Ra recording; for the most part. In term of scope it's fucking fantastic. You get two fully packed CDs that offer both the wild and the groovy side of Sun Ra. The concert opens with a 20 minute untitled track which was probably composed at the spot or 10 minutes before tops. It feels more like a medley than a complete track and it goes from relatively normal to absolute abstract free jazz throughout its runtime. After this lengthy session the band shifts into a more accessible sound with June Tyson softly singing while the band rests for a while only to burst yet again into a firestorm of free improvisation. This free form flying goes on for approximately the midpoint of the first CD. The band changes completely the tone of the concert first by a short poem/speech that Ra himself makes (who is by the way noticeably absent from the first part of this recording but makes up for it in later parts of the recording) and then secondly with some blazing hot swing and ragtime tunes that showcases the band in a completely different but even more amazing light than before. It is here that the band proves itself to the audience that they're not just noodling free improvisers but that they are in reality a tightly knit unit capable of fast and also technical feats.

The second CD kicks off with a unique rendition of Watusa that's more focused on instruments that aren't percussive in nature and also with Ra leading the charge making this a new favorite of mine. After such a great track the rest is only gravy on top. The band continues on with a very familiar moody composition called Lights on a Satellite. The sound on this one is a bit botched, probably due to instrument changes (Ra switches from piano to electric keyboards) and is a bit jarring at times but this gets sorted out as things move on to the next track. After this the tracks get more relaxed in mood as the band plays more of their familiar repertoire and also bring more emphasis to vocal segments and chants. But the band is not quite yet finished as they go into full weirdness for one more time before ending the performance with a couple more regular tracks and vocal parts.

All in all this is a fantastic live recording full of amazing tracks and performances. If you like Sun Ra even a bit I think you'll find lots of enjoyment on this record.

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Plaga ‎- 2011 - Pożeracze Słońc

Plaga is a relatively obscure Polish black metal band that released one album back in 2013 and they have been quite since then. While the album is kinda alright (haven't returned to it in years) what put them on the underground radar is this EP that they did two years prior. While being just three tracks in total it delivered a lot promise and skill along with its comfortable 20 minute length overall. The style they play is a highly paced and fairly melodic approach to black metal with little care to how noisy the guitars actually are. It's not a well produced EP and you can hear its demo-like qualities but what they lack in professionalism they compensate in their intensity and catchy riffing. Good stuff.

Get it.

Oh, Yoko ‎- 2012 - Seashore

Oh, Yoko is an interesting duo. They claim (at least on Will Long's site) to be a pop band but they're really far from it. I mean you could consider this pop if all you listen is free improvisation and avant garde records from the 70s then yeah; it's pop. For a pleb like me this is more of an experimental or occidental folk with ambient layers for good measure. Seashore is a single but they also did an album a year later for which I don't really care much.

This single contains >the single<, an instrumental version of >the single< and a remix of >the single<. Three tracks, nothing too big or pompous. Looking at the cover you might get a feeling of melancholy mixed with nostalgia and regret. If you did then you already guessed how the single and its instrumental companion might sound but it's not a very cozy affair. Yes it contains all of these emotions and the vocals are distant, sad and at times a bit directionless but so is the music, it feels chopped at parts and disjointed. Perhaps akin to fuzzy memories. Yeah, I kinda like that idea of it. It's definitely not an easy listen but it does reward a careful listen.

Honestly the main attraction for me here is the remix done by the dude/gal who is behind the pseudonym of DJ Sprinkles. He keeps the feeling and ambiance of the original but brings out so much more personal meaning into it. The base beat is a bit bare but I grew to like it and the whole arrangement of the mix makes this a very enjoyable ride that rewards repeated listening as you discover something new with each new ride through its melancholy. A ride I would recommend dearly.

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Sun Ra - The Paris Tapes: Live at Le Theatre Du Chatelet 1971 (LP version)

Paris Tapes is a live recording of Sun Ra arkestra during their European tour in 1970s. What's apparent from the start here is that the sound quality of the recording is in a fairly high order which probably means this was intentionally recorded either by the band or the venue. For some reason this "album" never got released, it took until 2010 for this to get a widespread release. It actually came in two versions. This is the shorter LP version and the second, much longer version, comes on 2xCD format which I haven't had the chance to get and listen.

The LP version which I'm sharing comes with three long songs. Two out of three songs are readily familiar to even the most casual Sun Ra listener ie Space is The Place and Watusi while the third song (a favorite of mine) is a much less commonly recorded and known song. What makes this concert stand out is definitely the focus of percussive instruments throughout. The combination of various percussive passages and continuous vocal chanting by different band members contribute to a very ritualistic and hypnotic feeling. With this is in mind the setlist makes a lot of sense as it only enhances their past intensity and percussive orientation. Watusi was always a percussive orgy and the other two tracks always featured a lot of monotonous chanting throughout their runtime. All in all this is a very unique and interesting recording that I would recommend to both people who like Sun Ra and to those who don't because on here they won't get their usual serving of chords from space.

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Joe Henderson - 1964 - In 'N Out

While Joe Henderson probably isn't the first saxophone giant that comes to mind he definitely was a tremendous force and influence in the world of jazz for both his peers and later on his successors. While his most famous output is definitely a track called Black Narcissus, Joe Henderson had a long and very fruitful career throughout his life. For me his early output is the most interesting and those albums I'm most familiar with. In 'N Out is probably my favorite of the bunch as it is a shining example of the "post-bop" style that dominated the 60s. Aside from Henderson being an absolute beast on all of the tracks the backing band is comprised of some pretty big names as well. McCoy Tyner most notably (for me at least) manning the piano on all tracks but also Kenny Dorham who composed the B side of this album. The album itself isn't as intense in speed and ferocity as one might expect but that shouldn't be the only mark of quality for records like these. It's a very well made and refined album that shines with brilliance on all fronts. A record I often come back to.

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Red Garland - 1958 - All Mornin' Long

Back in 1958 this apparently happened. I was pretty stoked when I found out and I generally am satisfied with how it sounds. To be clear, this is not some long lost gem but it is a joy to listen nonetheless. Coltrane, being my main point of interest on this record, sounds much at home throughout all the tracks. His playing here is I guess most reminiscent of how he played on Blue Train. Other star of the show is of course Donald Byrd on trumpet who also showcases his soloing abilities. And Garland being the star of the show is... alright I guess? I never was much of his fan. He sounds so utilitarian to me, like he's just there and nothing happens aside from maybe some stride soloing. But yeah, this is a really relaxing jam session that came and went without much puff. If you can get past that then you're up for some good time.

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Sun Ra - 1970 - Black Myth / Out In Space

These two concerts were recorded in Germany and from my understanding this was their first outing there. The albums kicks off with a unique track called Black Forest Myth and it is unique because the concert was held in Donaueschingen which is in the actual Black Forest of Germany. The track sets a tone for the rest of the gig which is darkly energetic. There are very few melodic breaks here and the whole gig is filled with really fiery and intense saxophone solos often lightly accompanied by other instruments. Often times you will get two saxophones battling it out while everything else is dormant until the moment ends and the gate opens for an incredible rush of percussion and Sun Ra's electronic keyboards. You can hear multiple audible "BOO" which is understandable, this really was an uncompromising live show. I said a lot of "YEAH" while I was listening to it though.

The second recording, Out In Space, was recorded in Berlin also on the same tour. This one seems much more cheerful and warmer than the eerie first one. Maybe because the place wasn't called so ominously, to the band at least. Probably the star of this concert is the opening 30 minute mammoth track featuring some unusual instruments that slowly unravel the composition as it goes on until it fully blossoms into a raging fire of series of improvisations both by Sun Ra and his fellow band members. Aside from being more approachable it also contains my all time favorite composition by Sun Ra which is Watusa (or Watusi, depends on recording) a track that features primarily drums and a million other percussive instruments. It's a composition that starts with a really hectic riff that quickly swirls into a whirlwind of drums and then just goes wild with every imaginable percussive instrument. But on here it lasts mere 2 and half minutes so it's tolerable to those who don't like it and unbearable to me who does like it!

CD1 and CD2

Kath Bloom - 2005 - Finally

Kath Bloom's lonely, love-filled songs are some of the most beautiful and heartbreaking ever written, but since a series of limited edition LPs recorded in the early 80s with avant-garde guitarist Loren Mazzacane Connors, her only output has been a handful of CD-Rs available by mailorder from her website, and one song Come Here on the soundtrack to Richard Linklater's 1995 movie Before Sunrise.

So starts the booklet of this loveable compilation that chronicles this relatively unknown but very soft spoken folk singer through the 90s. While her music is for the most part the traditional acoustic guitar + voice combination there definitely is a fair bit of a country tinge in a lot of her songs. This is most evident in songs that feature more than one instrument. With or without extra instrumentation this is some damn fine folking around. I'm not familiar with her chronological career but this bundle of songs is so comfortable I don't really even feel the need for anything else. This music is having a cup of warm tea while there's rain and fog outside and you're in your living room, watching the streets through the window while time slowly passes away. Recommended.

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Gravesoil - 2014 - Oblations Of Blood

Gravesoil is (or was) a Finnish black metal band that released this demo and then went away. What they did record sounds to my ears like Casus Luciferi but more rawer and of course more lo-fi (it's a tape demo after all). The demo is just three songs but honestly I think they're all worthwhile a listen if anything just to reminisce how there was a time people liked Watain for their music and not their fashion.

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Pat Martino - 1972 - Live!

Hey folks! It has been a while so let's get into stride with a nice and intense live jazz guitar album. When it comes to instrumentation in jazz the guitar certainly isn't among my favorite instruments and this is probably because I'm so used to the guitar being distorted and heavy that in jazz it just sounds limp to me. But as with everything else there are always exceptions. This album is one fine exception as Pat Martino is one relentless motherfucker on this album. With just a skeleton crew Martino absolutely destroys on all three lengthy tracks. The first one is probably the most interesting as it is the most free and most intense of the selection but all three have something good to offer. The second follows suit in its intensity and speed while the last one is noticeably more relaxed and poppy a nice refreshment at the end. The only downside to this album is that at times the backing musicians don't fully make use of their time in the soloist spotlight.

Have fun and get it.

No Value - 2006 - Primitive Recreation

No Value is (was?) a noisy fastcore band from Japan. This is a short and sweet EP running for about 9 minutes. It's fast, it's melodic to an extent, it's intense and it's distorted to oblivion. There's a girl yelling somewhere in there (with occasional male vocals kicking in) but everything is so loud and short that they can be anything. It's great, not much else beside that.

Get it.

P.L.F. - Devious Persecution and Wholesale Slaughter / Ultimate Whirlwind Of Incineration

P.L.F. or Pretty Little Flower or Pulverizing Lethal Force or whatever else they're called is a grindcore band from Huston. They've been around for quite a while, never really garnering that much attention as did their fellow neighbor Insect Warfare despite sounding relatively similar to each other at least on the surface. The two albums I'm sharing here are from 2013 and 2014 and they're similar enough and short enough that I consider them to be a sort of double feature or two part album. The inevitable comparison with IW is appropriate since PLF also features a lot of thrash metal (Razor-esque) breaks between the blastbeats and generally a heavy dose of riffis. Songwriting wise they're much simpler and more orthodox with no noise or any other kinds of influences to make them sound more punchy. Its muddy production gives the albums a grimy and old school feeling which is great but the albums are not without their flaws. The are vocals uninspired and laid back. Serviceable would probably be the most apt description of them. This is probably because they're mainly in the lower register even while doing the raspy screams. Their emotionless delivery takes out some of the punch from the songs but not enough to make these releases limp. If you're in need for some thrashing be sure to get these two fine albums.

Get them both and start thrashing!

Joe Cuba - 1972 - Bustin' Out

Of all the genres I think salsa and highlife are the most carefree and happy of them all. I don't know, might be just a personal preference but the moment I hear some salsa I always switch to a better mood. Joe Cuba and his sextet are one pretty intense and funky salsa band and they do not shy away from mixing genres and rhythms. There's even a pure, no frills soul ballad on here. But love songs aside most of this album is dirty loving, percussive fast salsa with a lot of 18+ rated oohs and aaahs. Pud-Da-Din is probably the most intense non-porn song I've ever heard (and, yes, I'm including all those kinky enka records from the 70s with boobies).

Do you feel it?

Carmen Maki ‎- 1969 - 真夜中詩集 ーろうそくの消えるまでー

Carmen Maki is a half American, half Japanese singer/songwriter that was mainly active during the 70s. Her first album (this one) is a common mixture of enka singing and folk-rock instrumentation. There's nothing really outstanding here aside from her voice which is heavenly as fuck. It reminds me of Meiko Kaji but a bit more softer and more nuanced. The album might be off putting due to a lot of "talking" parts where she probably delivers some kind of backstory or context for the songs (pretty sure she introduces her upbringing in the second song) but they're mostly short and not that jarring. The songs themselves go at a mainly relaxed pace with a lot of flutes, strings and harmonicas. Kinda western-ish sounding in a lot places. Nice and relaxing sunday tunes.

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How to Count Planets (album and EP)

How to Count Planets is a Japanese folk duo that started around 2010. I'll come at you straight by saying if you like Shione Yukawa you'll find plenty to like here as well. So much that you can go and download both of their releases without reading any of my dribble. The vocalist sounds so similar to her that I had to actually go and look if it's actually her or someone else. Aside from that comparison the band follows Shione's stylistic approach as well. The album and EP are both so relaxing and lowkey that they're able to calm even the wildest of days. Aside from the usual vocal-acoustic guitar combination the album features a good array of different instrumentation for various songs. Piano and vibes probably being the most effective as they only amplifies the already melancholic and autumny feeling this band conveys. If there's any difference between the EP and album I'd say it's in this: the EP is much more stripped down folk while the album tries much more to make the songs varied with added instruments. Both are equally good in what they're trying to achieve and honestly I generally play them back to back.

If you've been longing for some soft melancholic folk, look no further.

EP

Album

Martwa Aura - 2016 - Tenebrae Divine

By now everyone should be aware that Poland has some really sweet black metal bands. Over the years the scene there as a whole managed to carve its own unique feel and sound of black metal. But Poland is not just a couple of famous bands, there's quality in the lower levels of the hierarchy. Martwa Aura isn't a band that will naturally come to mind when someone mentions Poland and for good reason. They don't have that much of a buzz around them. Their album from 2015 is not really to my linking mainly because of the mix and production on the vocals. I just can't get into it; I did like everything else on it though. Lucky for me everything else but that vocal production is present on their EP which came out a year later in 2016. Their sound matured into a grisly, melodic romp filled with tempo changes and lovely old tremolo riffing. The vocals changed for the good, now being a bit more in the background. They sound subdued and raspy while the riffing blasts and rips away everything in front of them. Albeit short all three songs showcase a good intuition for melodies and all songs are packed with an array of riffs. There's some tinge of thrash metal in the breakdowns as well. It's a well packed little EP that makes me very hopeful for the eventual next album.

Get it.