From Musique Machine:
Teiji Ito – Watermill
Watermill is one of the most beautiful, enchanting and approachable long form pieces by noted and past New York based Japanese composer and performer Teiji Ito; taking in his usually love of Native American, Chinese, Tibetan, African, and Japanese traditional music to weave a truly spell-binding, often intricate and compelling piece that stays more in melodic and atmospheric end of his work.
Bastard Noise – Our Earth’s Blood IV
Our Earth’s Blood IV takes the listener on one hell of a sonic journey that seesaws between violence and blacked atmospherics touching down in: Power electronics, noise, brooding ambience, dark electronica,grim cinematic, doom metallic’s and all manner of compelling experimental matter-spreading it’s impressive and varied sonic wares over a whooping 5 disks.
Dusty Mason – Ahab’s Revenge – Hot Tears, Cold Ocean
Dusty Mason is Ben Purscell, a rural Pennsylvanian stone mason by trade, who has recently taken to carving headstones. Ahab’s Revenge – Hot Tears, Cold Ocean is undoubtedly a more refined and cohesive album than his previous work with the Grave Cowboys. Their lone album, Dead Man Shoes includes some fine songs, and listened to in pieces works well enough. In the end, though, it comes across like so many first albums do, as an unfinished work in progress, an artist, or in this case a band, figuring out how to navigate their way through the recording studio. Dusty Mason on his own sounds relaxed away from the confines of the hard-lined clock tick-ery of the studio, having recorded Ahab’s Revenge… at home. With no outside intervention, these recordings are almost like diary entries, personal reminiscences of daily events and thoughts. Not that these songs aren’t well though out or, if you’ll pardon the pun, carefully hewn. It’s just that Dusty’s personality is indelibly imprinted onto each one. It would be easy to lazily file this music under alternative folk or country, and though there’s certainly a little of both folk and country elements, it doesn’t fit neatly into either category. It’s distinctly American music, seen through a dirty lens, slightly out of skew.
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